Wot/Wow Fall 2011
214
COMMAND + I
description
Wot/Wow Fall 2011
Transcript of Wot/Wow Fall 2011
COM
MA
ND
+ I
COM
MA
ND
+ I
WO
T/W
OW
POST
ED B
Y D
AVIS
, JO
EY, M
IKEY
, PAT
RIC
K, R
AC
HEL
, SA
RIN
, TRA
CY
http
://g
radw
ow.w
ordp
ress
.com
/*Co
mman
d I*
/
<h1>
INTR
ODUC
TION
</h1
> <p1>
Comm
and
I is
a c
ollective publication inte
nded to be navigated like a blog on the internet
. Th
e Co
mman
d I
shor
tcut
in
Fire
fox
take
s yo
u to
the page info of the website you are currently viewing. Using our class
blo
g as
ins
pira
tion
for
the
stru
ctur
e of
thi
s bo
ok, each section displays blog posts and assignments that relate to a sp
ecifi
c ca
tego
ry o
f in
tere
st.</
p1>
<p2>
Our
titl
e fo
r th
e book stems from the over
arching idea that all of the posts and projects
rela
te t
o id
enti
ty.
Even
thou
gh t
he p
osts
dea
l with a wide variety of subject matters we found that when choosing a t
opic
/art
icle
/pro
ject
for
a
post
, th
ey a
ll w
ere
reflective of our individually identities. We wanted the title to relate
to t
he t
heme
of
iden
tity
but
not
nece
ssar
ily
to u
se the word its self.<
/p2>
<p3>
The
syst
em c
reat
ed for this book is meant
engage the reader with a similar experience of n
avig
atin
g th
roug
h a
blog
. Our
inte
ntio
n is
to
allow the viewer to get the sense that they were navigating the back-end
of
the
web
page
.</
3>
<p4>
Beca
use
the
book
is set up in this way, th
e reader is able to navigate freely though the d
iffe
rent
pos
ts a
nd s
ecti
ons.
They
are
the
n ab
le t
o access the corresponding source code information about a particular po
st t
hat
is o
f in
tere
st t
o them
.</p
4>
/*©
Info
*/
<©>2
011
Lulu
Wot
Wow
All
Righ
ts R
eser
ved
ISBN
978
-1-1
05-3
0961
-8 <
/©>
INTR
OD
UCT
ION
TAB
LE O
F CO
NTE
NTSW
OW
PRO
JECT
SO
UR
PEO
PLE
BACK
TO
THE
FUTU
RE P
HOTOGRAPHY BY IRINA WERNING, Posted By: Rachel
BLUR
RED
BOUN
DARI
ES.T
HE HYBRID STATE OF GRAPHIC DESIGN: NOW IN PRODUCTION, Posted By: Joey
CIND
Y SH
ERMA
N –
UNTI
TLED FILM STILLS, Posted By: Rachel
DYSL
EXIA
=DYS
LEXI
E, P
osted By: Patrick
HOME
WOR
K SO
CIAL
VIS
IT LISTEN, Posted By: Sarin
NATH
AN N
EDOR
OSTE
K’S
RESUME, Posted By: Davis
NEW
MIT
MEDI
A LA
B ID
ENTITY, Posted By: Sarin
S- T
HS L
LA B
AT 2
ME,
Posted By: Patrick
THE
DELE
TED
CITY
, Po
sted By: Joey
WE L
IVE
IN P
UBLI
C, P
osted By: Rachel
CIND
Y SH
ERMA
N UN
TITL
ED FILM STILLS FACSIMILE FINAL — VIDEO SCREEN SHOTS, Posted By: Rachel
DESK
TOP
ORGA
NIZA
TION
, Posted By: Davis
HELL
O RO
RSCH
ACH,
NIC
E TO MEET YOU. Posted By: Patrick
FACE
BOOK
PRO
FILE
CAT
ALOGUE + CLASSIFYING FACEBOOK, Posted By: Rachel
10-6
3
12
14
18
22
24
26
28
30
32
34
36
38
40
42
RORS
CHAC
H, P
oste
d By
: Patrick
RECE
IPTS
AND
USE
FUL,
Posted By: Sarin
CHAR
LES
MANN
’S S
ON.
Posted By: Joey
ECO
A RO
BOT
THAT
CAN
WAL
K WITHOUT MOTORS OR ELECTRICITY, Posted By: Rachel
JAVI
ER S
ENOS
IAN
OF A
RQUITECTUREA ORGANICA IN MEXICO, Posted By: Tracy
BECA
USE
YOU
DON’
T HA
VE TO BE A HOBBIT TO LIVE SUBTERRANEOUSLY, P
osted By: Patrick
DYMA
XION
CAR
, Po
sted
By: Mikey
EMER
GENC
Y +
DISA
STER
, Posted By: Mikey
ENLI
GHTE
NING
NEE
DED…
Posted By: Tracy
HANS
BRI
NKER
BUD
GET
HOTEL, Posted By: Davis
HOW
DESI
GN C
AN S
AVE
NYC WHEN THE NEXT BIG STORM HITS, Posted By: Joey
IT I
S FI
NALL
Y HA
PPEN
ING!… HOUSEHOLD ROBOTS! Posted By: Patrick
LAND
FORM
BUI
LDIN
G, P
osted By: Mikey
LIGH
T EX
PERI
MENT
S, P
osted By: Tracy
LIGH
TBUL
BS M
ADE
OF P
APER ELIMINATE PACKAGING, Posted By: Rachel
NIKE
BET
TER
WORL
D, P
osted By: Sarin
REDE
SIGN
ED R
EUSE
D AB
ANDONED RAILWAYS, Posted By: Tracy
UNDE
RSTA
NDIN
G OT
HER
SPECIES, Posted By: Tracy
USEF
UL +
AGR
EEAB
LE H
OUSE, Posted By: Sarin
ANIM
ALS,
Pos
ted
By:
Patrick
44
46
48 64-1
21
66 68
70
72
74
76
78
82
84
86
88
90
92
94
96
98
10
0
DYMA
XION
CAR
, Po
sted
By: Mikey
LIGH
T FA
CSIM
ILE,
Pos
ted By: Tracy
AGRE
EABL
E FA
CSIM
ILE,
Posted By: Sarin
TARO
T SH
ELLS
, Po
sted
By: Tracy
MO
RA
LITY
WOME
N GE
TS M
ASTE
R IN
MASTER’S IN INTERNET MEMES: RAD OR RIDICULOUS
A DI
FFER
ENT
KIND
OF
ANIMAL ATTRACTION AT LOS ANGELES ZOO, Posted By: Patrick
IMAG
INAT
ION:
CRE
ATIN
G THE FUTURE TODAY, Posted By: Tracy
DESI
GN A
S GR
AFFI
TI,
Posted By: Patrick
THE
FEMI
NINE
SID
E OF
GRAFFITI, Posted By: Tracy
MR.
BRAI
NWAS
H IN
VITE
S YOU TO PARTICIPATE IN HIS LATEST EXHIBIT, Posted By: Rachel
SIMP
LE T
RUTH
S, P
oste
d By: Mikey
TED
PRIZ
E WI
NNER
, Po
sted By: Tracy
WOME
N AR
E RE
JECT
ING
MARRIAGE IN ASIA, Posted By: Tracy
WORK
FRO
M TO
BIAS
ZIE
LONY, Posted By: Davis
MONA
PIZ
ZA,
Post
ed B
y: Joey
OVER
DUE(
CAT
ALOG
), P
osted By: Mikey
TRUI
SMS,
Pos
ted
By:
Rachel and Mikey
HONE
STY
DOLL
AR,
Post
ed By: Sarin, Joey and Davis
INSP
IRA
TIO
N
3D D
RAWI
NG M
ACHI
NE,
Posted By: Patrick
A “T
YPEW
RITE
R” T
HAT
MIXES COCKTAILS AT THE PUSH OF KEYS, Posted By: Joey
10
2
10
4
10
6
10
8
122-1
63
12
4
12
6
12
8
13
0
13
2
13
4
13
6
13
8
14
0
14
2
14
4
14
6
14
8
15
0
164-2
13
16
6
16
8
17
0
17
2
17
4
17
6
17
8
18
0
18
4
18
6
18
8
19
0
19
2
19
4
19
8
20
0
20
2
20
4
COLO
R PE
RCEP
TION
, Po
sted By: Patrick
COMP
RESS
ED 0
2 BY
KIM
PIMMEL, Posted By: Joey
DESI
GN I
S/AS
HUM
OR B
Y KEENAN CUMMINGS, Posted By: Davis
JEN
STAR
K, P
oste
d By
: Joey
MOTT
O DI
STRI
BUTI
ON,
Posted By: Davis
MOVI
E PO
STER
S TH
AT G
O A BIT BEYOND. Posted By: Rachel
OCCU
PY W
ALL
STRE
ET,
Posted By: Joey
PA/P
ER V
IEW,
Pos
ted
By: Joey
PRIS
M SK
YLAB
, Po
sted
By: Mikey
RAIN
BOW
BANK
, Po
sted
By: Patrick
TRAU
MGED
ANKE
N BY
MAR
IA FISCHER, Posted By: Joey
UNTI
TLED
SHIP
, Po
sted
By: Davis
ANTI
-MAN
IFES
TO,
Post
ed By: Tracy and Patrick
FANT
ASY
FOOT
BALL
, Po
sted By: Davis
FLIG
HT I
NVEN
TION
, Po
sted By: Patrick
IMMA
CULA
TE H
EART
COL
LEGE ART DEPARTMENT RULES, Posted By: Tracy and Patrick
/*PAGES 12-13*/
<h1>BACK
TO
THE
FUTURE – PH
OTOGRAPH
Y BY
IRINA WER
NING</h1>
<p1>Now
I know
a lot
of p
eople re-create photographs so it’s n
ot a n
ew idea…but w
hat I foun
d really interesting a
bout Irina’s
work
is that
she
really d
ug d
eep to actually recreate the
entire atmosphere of the moment, d
own
to the
exact coloring
and
location. I
can
see
it really re-creating the
feelings an
d emotions for the
perso
n whose photograph it
is.Here
is a
statement
from
the
artist:</p1>
<p2>I
love old p
hotos. I admit being a n
osey p
hotographer. A
s so
on as I step into someone
else’s
house, I
start sniffing
for
them. M
ost
of us
are fascinated by their retro look but to me, it’s imagining h
ow people would
feel a
nd
look
like if
they
were
to ree
nact the
m today… A few
months ago,
I de
cide
d to actually do this. So, with m
y ca
mera, I
started
inviting p
eople
to
go back
to their future.</p2>
<p3>I
think
what
I like a
bout the
m is that at first glan
ce the
photographs are so strikingly similar,
and
then o
nce
you
dive
into the
m an
d study
the
m, the
subtle differences really start to stan
d out. They tell a really beautiful story.</p3>
<p4>These are just
a few of the
photos fro
m the series (there are 2 parts.) you can see more at the
artist’s
website:
http://irinawerning.com/back-to-the-fut/back-to-the-future/</p4>
<META NAME=“Rachel”>
/*PAGES14-17*/
</h2>Blurred
boun
daries. The
hybrid state of ‘Grap
hic Design: N
ow in Produ
ction’</h2>
<p1>The
typ
eface
Union, a synthesis of Helvetica an
d Arial, is ‘inten
ded for situations w
here H
elvetica see
ms too
sophisticated
and
Arial too vulgar, or vice versa’, writes Steven McCarthy. T
his position, that of ‘both
/ an
d’ rather
than
‘either
/ or’, sets
the
philoso
phical
tone
for ‘Grap
hic
Design: N
ow
in Produ
ction’,
a ne
w an
d revealing
exhibition
at Walker
Art
Center in
Minneapolis.
Perhaps
it
is for this
strangely
familiar q
uality that
Union
is use
d for
the
show’s
catalogu
e.Top
and
below: Christopher Clark, W
eb Typ
ography for the
Lonely (2011).</p1>
<p2>The
first
major
museu
m-based American
graphic design
exhibition in fifteen years, ‘Grap
hic Design: N
ow
in Produ
ction’ is
jointly
curated
by A
ndrew
Blauvelt of the
Walker Art Center in Minn
eapolis a
nd Ellen Lupton of the
Cooper-Hewitt
National
Design
Museu
m in N
ew York. T
hey were assisted
by Ian
Albinso
n for selecting film title sequ
ences, Jeremy
Leslie for m
agazines,
and
Armin Vit
and
Bryony G
omez-Palacio for shaping the
branding a
nd identity category. Together
they could
be
considered
acuratorial ‘dream
team’, with d
eep an
d broa
d knowledge of contemporary grap
hic design, an
d possessing
complementary
skills
in
designing, researching, writing, m
anaging an
d produ
cing.</p2>
<p3>Above an
d below: Installation photographs,
below image shows
framed copies of the Ne
w York Times.
The
collaborative
nature of
the
exhibit, w
hich includes opportunities for viewer participation, in-gallery shopping a
nd
‘crowd-so
urced’
content, signals something u
niqu
e ab
out this radically conceived, a
nd yet – on the surface – conventionally
presented, show.
The
traditional
‘content + context / curator = exhibition’ m
odel has adde
d the participation of d
esigners as
actors,
and
has
invited
the
involvement
of the
public,
inverting
the
viewing
relationship
in surprising
ways.
Wikipedia
entries
serve
as captions in
the
catalogu
e, bloggers critiqu
e redesign
ed bran
ds, an
d view
ers physically activate a
digital p
oster
wall,
generating a
smartphone-readable QR
code.</p3>
PEO
PLE
/ 1
1
<p4>Largely
drawn
from the past d
ecade, an
d primarily from American
and northern European grap
hic
design
ers, the
exhibition
content
is organise
d along
typical lines of
formatting:
posters,
magazines,
information
graphics,
books,
film
titling
and
other
motion
grap
hics, typography a
nd typefaces, an
d bran
ding a
nd identity. While the
individual w
orks
in
each category
are
exemplary of the
discipline’s most creative a
nd celebrated produ
cers, the division of w
orks
into
such standard conventions –
reinforced
by cha
mbers in the
gallery
– represents a missed opportunity, one
actually advocated
for
in the
Graphic
Design:
Now
in Produ
ction
catalogu
e.</p4>
<p5>Above: Peter B
uchanan-Smith, B
est Ma
de A
merican
Felling A
xes (200
9).</p5>
<p6>Below: M
etahaven, Un
corp
orate Identity (2010).</p6>
<p7>An
exhibition
this compreh
ensive b
egs view
ers to find the voids: packaging d
esign, environmental
grap
hics,
websites, a
nd
other
quotidian
forms
see
m missing, as the curators a
dmit. (
Where is Shepard Fairey’s H
ope poster
for
Oba
ma?) Perhaps the
luscious designs from the progressive practices on display no single object seems undeserving conceptually or aesthetically best
serve
the curators’
visions: relational, participatory, open-sourced, a
nd yet ag
gregated into standard classifications.</p7>
<p8>But
closer inspection of ‘Grap
hic Design: N
ow in Produ
ction’ fro
m within each category
reveals some
courageous a
nd
provocative choices. M
etahaven’s specially co
mmissione
d Face State, a speculative identity program
that a
ddresses
geo-political
concerns,
sits a
djacent to G
oogle’s ever-chan
ging a
nd so
metimes irritatingly cute logo. Bloomberg
Businesswee
k ma
gazine
is
a few
steps from
Peet Pienaar’s Fluxus-like Afro
Magazine, setting up
numerous interpretations. It is
in this
interstitial space
betwee
n works
that
view
ers construct their own meaning, while reflecting on the curators’ intentions.</p8>
<p9>Above: Sarah
Illen
berger, information grap
hics for ‘The
Truth a
bout Sex’, p
ublished in N
eon
magazine
(2008).</p9>
<p10>Below: Stefan
Sagmeister, Casa da Musica</p10>
<p11>James G
oggin’s
catalogu
e essay expresses
this ‘both / an
d’ nature well: ‘This slightly a
mbigu
ous p
osition, a
distinctly
in-between
discipline
that is
both
everywhere
and
nowhere, is
to o
ur b
enefit,
allowing
graphic
design
to talk
with
out
boun
daries to
a wider au
dience w
hile also enabling us to infiltrate an
d use the systems
of other
disciplines
whe
n desired
and
where relevant.’</p11>
<p12>Blauvelt,
Lupton
and
their
colleagu
es’
choices
bubble
up, a
n emergent landscape
of e
xotic
trees a
nd
flowers
– simultane
ously o
bjects, formats a
nd processes.
In this regard, the Grap
hic Design: N
ow in Produ
ction
exhibition
succee
ds as
hybrid state:
both
simple an
d co
mplex, radical an
d traditional, challenging a
nd affirming. It achieves
this q
uality n
ot throug
h co
mpromise,
but throug
h an
expa
nsive
notion
of e
xhibition
curation
as a
dynamic, probing
and
inclusive
process.</p12>
<p13>A longer version
of this review
will ap
pear in Eye 82.</p13>
<p14>Above
and
below: Jop van Be
nnekom, Fantastic Man
(2005). Issues #1 (ab
ove) a
nd #2 (below).
See
‘No
muscles,
no
tattoos’
in Eye 59.<p14>
PEO
PLE
INSP
IRA
TIO
N /
13
IRIN
A W
ERN
ING
POST
ED B
Y RA
CH
EL
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radw
ow.w
ordp
ress
.com
/201
1/09
/28/
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aphy
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irina
-wer
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/
PEO
PLE
/ 1
5
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RR
ED B
OU
ND
AR
IES.
THE
HY
BR
ID S
TATE
OF
GR
APH
IC D
ESIG
N:
NO
W I
N P
RO
DU
CTI
ON
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ED B
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PLE
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PLE
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PLE
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1
<p15>22
October 2011 > 22 Jan
uary
2012 Grap
hic
Design: N
ow in Produ
ction Walker Art Center 1750 H
enne
pin
Aven
ue Minneap
olis
Minn
esota 55403
USA
www.walkerart.org</p15>
<p16>Eye is
the
world’s m
ost beautiful a
nd collectable grap
hic design
journal, p
ublished quarterly
for
professional
design
ers,
stude
nts
and
anyone
interested in critical, informed writing ab
out graphic design
and visual culture.
It is
available
from
all
good
design
bookshops a
nd online at the
Eye shop. Eye 81 is o
ut tomorrow.</p16>
<META NAME=“Joey”>
/*PAGES
18-21*/
<h3>Cindy
Sherma
n –
Untitled Film Stills</h3>
<p1>Sherman
began
making
these
pictures in
1977,
when
she
was
twenty-three. T
he
first six w
ere
an
experiment: fan-magazine
glimpses into
the
life (or roles) of a
n imaginary blonde
actress, played by Sherma
n herself. T
he p
hotographs look
like m
ovie
stills—or p
erhaps like publicity pix—purporting to catch the blond bombshell in un
guarde
d moments at
home. T
he protago
nist
is shown
preening
in the
kitchen
and
lounging
in the
bedroom
On
to s
omething,
Sherman
tried
other characters
in oth
er
roles: the
chic
starlet at h
er seaside
hideaway, the
luscious librarian, the domesticated sex kitten,
the
hot-bloode
d woma
n of the
people, the
ice-cold s
ophisticate, a
nd
others. She
eventually completed
the
series in
1980.
She
stopped, she
has
explaine
d, w
hen
she
ran out of clichés. Other artists had drawn up
on popular culture, but Sherma
n’s
strategy
was
new. For h
er
the pop-culture image was not a subject (as it had been for Walker Evans) or raw material (as it had been for Andy Warhol)
but a
whole
artistic vocabulary, ready-made. H
er film stills
look
and
function
just like
the
real o
nes
—those
8-by-10-inch
glossies d
esigne
d to lure us into a drama
we fin
d all the more co
mpelling b
ecause w
e know it is
not real.</p1>
<p2>In the Untitled Film Stills there are no Cleopatras, n
o ladies o
n trains, no
women of a certain age. There are, of course,
no
men.
The
sixty-nine
solitary
heroines m
ap
a particular constellation
of fi
ctional
femininity that
took
hold
in p
ostw
ar
America—t
he period of Sh
erman’s yo
uth, and th
e ground-zero of our co
ntemporar
y mythology. In fin
ding a form for her own
sensibility, Sherma
n touche
d a sensitive nerve in the
culture at large. Although most of the
characters
are
invented, w
e sense
right
away
that w
e already
know them. T
hat twinge of instant recognition is w
hat ma
kes the
series tick, a
nd
it arises
from
Cindy
Sherma
n’s
uncanny poise. There is no wink
at the view
er, no open irony, no ca
mp. A
s Warhol said, “She’s
good
enoug
h to b
e a
real actress.”</p2>
<p3>I
have always
been
fascinated
with Cindy
Sherman
and
with this
project
from
the
very
first time
I sa
w it.
It directly
relates
to m
y interest in playing a role / character a
nd dressing u
p as someone
you’re n
ot. I
think
that I
sub
consciously (or
probably consciously) try to do this in my everyday life. I didn’t really necessarily think that all of the ph
otographs looked
like movie stills per se
but more like moments captured in th
e lives of different ty
pes
of women. I am not just interested
in playing
the
role of
the
female
protagonist h
owever,
but e
xploring
all typ
es of
roles
that e
xist.
I also
think
that m
any
of h
er roles existed
within a certain time period because they emulate certain types of movies, w
hich d
o not n
ecessarily
mirro
those
of today. A
nother p
art
that I
love
about this
work
is that
she
did
not copy
specific
characters in
actual films
but invented
them, a
nd they w
ere instantly recognizable. This is always so
mething that I wish I
had
done.
I look
to it
for
constant inspiration an
d with a
dmiration all the time.</p3>
<META
NAME=“Rachel”>
/*PAGES
18-21*/
PEO
PLE
/ 5
3
<h4> CINDY SHERMAN
UNTITLED FILM STILLS: FACSIMILE STAGE 1</h4>
<p1>When
I g
ot to
thinking
about Cindy
Sherman’s
“Untitled
Film Stills” a
nd
my
Facsimile
of them, I
knew
that I
wanted
to
include
motion
someh
ow. I was thinking ab
out contrasting the idea of the “film still” but still kee
ping the
m cine
matic
and
timeless
as they
already
were. I wanted to scale the
m down an
d ma
ke the
m sm
aller than
the
original
8 x
10 prints. I
chose
4 of m
y favorite stills to w
ork with. My initial idea to use hologram paper to print them out o
n to m
ake
them
appear
to b
e moving
when
a p
erso
n would
walk b
y th
em, a
nd
someh
ow
install
them
onto
the
wall as
a lighted
art
piece. I
called
every
store
in Los A
ngeles to try to find it. Apparently, Hologram paper is unavailable in every
pap
er,
art
supply
and
craft
store…
so instead
I did a b
unch of printing tests o
n other types of paper and tested
how they w
ould b
e altered when placed
against
light. I
foun
d so
me
pearlescent wavy paper, an
d I already
had so
me silver a
nd black foil pap
er that
warped
the
printing of
images.
I also foun
d so
me vellum transparent
paper, that I thoug
ht w
ould be great for shining
throug
h the
light, b
ut for
some
reason
it w
ould not print through my printer. I foun
d motion sensored security lights at H
ome
Dep
ot,
and
thoug
ht a
bout
using
them
to incorporate motion an
d light. I w
as u
nable to install the
motion sensor light, but m
y neighb
or had
similar
lights that
were
stationary, so I tested the print experiments against these lights to see
the
effects.
The
results w
ere
interesting; they
made
the
ima
ges look like watercolor paintings.</p1>
<p2>This
wave of
experiments gave birth to a
nother idea, as m
y neighb
or is also the
owner of a green scree
n projector, a
nd
also a
very
theatrical individual. With the
help of m
y creative n
eigh
bors, w
e had an
idea to project the
Film
Stills o
nto
the
gree
n screen projector in their garage. This blew
the
photographs u
p an
d ma
de the
m a bit transparent. W
e were
then a
ble
to
enter
the scen
e ourselves using o
ur silhouettes. My neighb
ors had tons of great props lying aroun
d as w
ell, so
we
thoug
ht of
idea after idea
of narrative that we could use to enhan
ce the
action happening in the
photograph. T
he m
usic w
e were
listening
to provide
d a
great
soun
dtrack for the
idea. It is this ma
n na
med Paul A
nka who re-records contemporary
songs
in Big Ban
d style, which
I th
ought fit perfectly. I filmed and art directed each
scene on my digital ca
mera. I was
a challenge
filming
because I ha
d to
make sure that I only got th
e shadow of th
e object or
perso
n in th
e sh
ot and not th
e actual thing. This
sometimes caused
the shot to co
me in at a weird or crooked an
gle. T
he p
hotographs a
nd narrative
we
shot w
ere
separate fro
m each other,
and
didn’t n
ecessarily come together to create a
n entire coherent story. However, this create
a basis
for
a played
out fully d
eveloped
story to come.</p2>
<META
NAME=“Rachel”>
/*PAGES
22-23*/
<h5>DYSLEXIA=DYSLEXIE</h5>
<p1>A friend of mine se
nt this project to
me, and now I will share it with
yo
u. It is a project about Dyslexia. As yo
u may
be
aware D
yslexia
is d
efined as: (a gen
eral term for disorders that involve difficulty in learning to
read
or interpret w
ords,
letters, and other symbols, b
ut that do not affect general intelligence). T
his poses a major problem for peo
ple who have this
disorder, because reading b
ecomes a chore. studiostudio, the design house that invented
the typ
eface “dyslexie”, investigated
why p
eople
with d
yslexia have problems
reading typ
e. T
hey addressed the issue that the
some letters
are
very
similar in
appearance, w
hich d
oes n
ot h
elp a perso
n with d
yslexia because they already
rotate letters whe
n they read. To
counter
this
problem
studiostudio
exag
gerated an
d emphasized similar letters to m
ake them distinct fro
m the
rest of
the
alphabet.
<p2>The
first
goal was to ma
ke the
focus of each letter o
n the botto
m, thus ma
king a h
eavy baseline
so
a perso
n with d
yslexia
would
not rotate
the letters as m
uch.</p2>
<p3>Second, the
opening of the
letters was increased to m
ake each letter more distinctive.</p3>
<p4>Third,
by italicizing the
letters a bit, especially letters with long ascen
ders a
nd descen
ders,
enhances the
differences
betwee
n letters.</p4>
<p5>Fourth,
The
characters which look quite similar are chan
ged by creating an
other tail of the
letter.
This
makes
it so
the
characters will
not b
e reflected or rotated as m
uch whe
n read.</p5>
<p6>Fifth: B
y ma
king the
ascen
ders a
nd the descen
ders of so
me letters longer the
letters will
not b
e confused
with other
letters
in the
alphabet.</p6>
<p7>Sixth: B
y ma
king the
capitals an
d pun
ctuation bold, the
beginning a
nd the en
d of each sentence can
be
separated
and
read
easier.</p7>
<p8>Seventh: T
he x-height of similar letters differs so that each letter has its o
wn</p8>
<p9>Eighth:
Letters
are ma
de taller instead of wider, so the
kerning b
etween letters is m
ore spacious a
nd
the
letters
can
be
recognized
easier.
</p9>
<p10>Ninth:
each letter is a different h
eight so n
ow the letters can be focused on individually</p10>
<p11>Tenth:
The
kerning is wider so the
letters b
ecome words.</p11>
<p12>This is an im
pressive project to
underta
ke because of th
e knowledge that studiostu
dio ha
d to
have in order to
create
a typeface that is truly easier to read. B
y addressing h
ow people with dyslexia read an
d co
ming u
p with solutions to those
problems is re
marka
ble. The 10 design modifications
that were discusse
d above go
over th
e problems that letters can have to
a perso
n with d
yslexia. It would seem that the
solutions are n
ot full proof b
ut are o
n the right
path to
a typeface
that is
truly easy
to
read for dyslexics. As a perso
n with
out dyslexia, it is intriguing to
read th
e ty
peface in a paragraph and to
see if the m
odifications of the letters really helps. It is also interesting to think ab
out ho
w modern typefaces are designe
d from an
aesthetic p
oint of view, when this typ
eface discards aesthetics an
d replaces it with logical solutions. To learn m
ore
about this
project, visit: http://www.studiostudio.nl/project-dyslexie/<p/12>
<META
NAME=“Patrick”>
/*PAGES
40-41*/
<h5>HELLO RO
RSCH
ACH, NICE TO MEET YOU.</h5>
<p1>The
Rorschach test has always b
een a strong interest of mine because of the ambiguity that surroun
ds the
test
as w
ell
as the
10
trade
mark ima
ges that have stood the test of time. In the tests golden age, the 40’s a
nd
50’s,
it was syn
ony
mous
with clinical
psycholog
y an
d 5 versions of the
test d
eveloped during those tw
o de
cades. H
owever since those
years, it
has
lost alm
ost
all
favor
and
is regarded
as n
ot o
nly
negative, b
ut also
potentially dangerous.
When
I picked
the
topic
I was
not a
ware of
many of
the Rorschach’s co
mplexities, w
hich o
nly de
epen
ed my interest in it. The
online
research I
did left
me
PEO
PLE
/ 5
5
very
puzzled
as the
information I was gathering was inconsistent at best. It was time to actually
get
a book
on
the
topic
to see
the
real
information of the
Rorschach.
I went to three
different libraries b
efore I foun
d a
set
of three
books
about
the
test.
Apparently the
library
I found
the
books
at
was
the
only
library
that carried
the
books
in
east Orange
County.
When I starte
d to
read th
e book I fo
und out that most of th
e information I found online was
incorrect. I found this very
interesting
because it seems
as though the test is surroun
ded with m
ystery
and is n
ow a scan
dalous topic. A
s I
read
about
the
Rorschach
the
information was extremely co
mplex a
nd very
bizarre. I looked into taking a class
on
how
to a
dminister the
test a
nd I
foun
d out that an
M.D. is a prerequisite. O
bviously n
ot having one
of those I continue
d to read
and
take n
otes o
n the
Rorschach
and
considered how I was going
to recreate this u
nusual character study.</p1>
<p2>First I
started
with recreating one
of the plates, or ink
blots used in the
test. T
he o
ne I
foun
d to b
e the
most
interesting
was
plate nu
mber 1. I thought a
bout different ways to capture the
perso
nality of the
test,
as w
ell
as w
hat
the
image
would
look
like if it w
ere three-dimensional. I thought that paper w
ould be a go
od fit to
create harsh lines as
well
as provide
the
character I was going for. I kne
w that cru
mpling the paper u
p was not going to
be
enoug
h, so
I de
cide
d to
submerge the
pap
er in water an
d while it was still wet, I would ben
d it to the shap
e of the
Rorschach.
I glue
d the
pieces
down
and
slowly
built the
ima
ge u
pward to a very
satisfying result. Now that the
ima
ge was m
ade,
my
attention
turned
to the
rema
king of
the
test.</p2>
<p3>I
started
by going into thrift stores to see
the
kinds of clothes people wore in the
40’s an
d 50’s.
I foun
d a
lab
coat
at a
uniform
supply
store an
d bought the
one
that was the closest to a lab
coat from the 50’s.
My
church d
own
the
street
eventually w
ould
provide a great place to film the
short. Considering the information I was reading I
wrote a
small scripted
of a
dialogu
e betwee
n an
Examiner an
d a Subject. I b
egged a friend to sacrifice their time an
d we
went
to the
church
to b
egin
filming.
Filming
the
short, was a lot m
ore difficult an
d time consuming than I anticipated, b
ut after several short
takes, the
film
was
completed
and it was off to my home to e
dit it. I wa
nted to show that the
test could
be
very
intense,
and
nerve
racking. So
I de
cide
d to a
dd in some strange
soun
d bites as w
ell as m
ake the film look old by a
pplying a
filter to
the
clips.
After
I was
done
with the editing I was satisfie
d with the
results a
nd enjoyed the process very
much. I
have
never
worked
with film b
efore
and
I foun
d a lot of interest in b
eing a
ble to e
dit an
d direct all parts of the
film. Even
the
paper Rorschach
that I
created
was
out of my usual go to materials, a
nd I foun
d hu
ge success in working with the
wet pap
er.
Overall this
first
roun
d of the
project was a
n interesting way to w
ork in u
nfamiliar territory.</p3>
<META
NAME=“Patrick”>
/*PAGES 24-25*/
<h6>HOME W
ORK
SOCIAL
VISIT LISTEN</h6>
<p1>Posters
x 6</p1>
<p2>Books
x 2</p2>
<p3>These are a
collection of b
ooks
and posters that are inspiring to m
e. H
ector Pottie: A project
to record
certain
aspects
of w
hat
was
happening in m
y life over five years. I m
ade
lists of where I lived, w
orked, socialised, traveled
to,
and
what
I listen
ed
to in
that year. I also illustrated detailed ma
ps of places in Scotland, w
here I’m originally
from, that
I had
visited
in those years. T
he texts a
nd ma
ps w
ere used in various ways to create a series of posters a
nd
books.
These w
here shown
as
an exhibition
at Filesharing in Berlin.</p3>
<META NAME=“Sarin”>
/*PAGES
26-27*/
<h7>NATHAN
NEDOR
OSTEK’S
RESUME</h7>
<p1>nathan
nedorostek_resume-2</p1>
<p2>This
is a
resume
that I foun
d again searching through old liked files in a folder o
n my co
mputer.
I love h
ow
he scann
ed
his
old
resu
me
and
updated it with a sharpie. T
his is a link to his p
erso
nal website a
nd this is
a link
to
his
website o
n the
resu
me.</p2>
<META NAME=“Davis”>
/*PAGES 28-29*/
<h8>NE
W MIT
MEDIA
LAB IDENTITY</h8>
<p1>The
new
visual
identity of the MIT Media Lab is inspired by the
community it comprises: Highly creative
people
from
all
kinds of
backgroun
ds come together, inspire each other a
nd collab
oratively develop a vision of the
future.This
unique
offering
of the
MIT M
edia
Lab
is reflected in the
logo
design. Each of the three shap
es stands for o
ne individual’s contribution, the
resulting shap
e represents the
outco
me of this process: A constant rede
finition of w
hat media an
d technolog
y means today. T
he
logo is
based
on
a visual system, a
n algorith
m that produ
ces a unique
logo for each p
erso
n, for faculty,
staff
and
stude
nts.
Each
perso
n can claim and own an individual shape and can use it on th
eir business card a perso
nal website. The design
enco
mpasses all collateral, b
usiness cards, letterhead, w
ebsite, animations, signage etc. A custo
m web interface was d
eveloped
to allow
each p
erso
n at the
Media Lab to choose an
d claim an
own individual logo for his/her business
card,
as w
ell
as a
custom
animation
software w
hich allows
to create custo
m animations for a
ny video content the lab
produ
ces.</p1>
<META NAME=“Sarin”>
/*PAGES
30-31*/
<h9>S-THS LLA
BAT
2 ME</h9>
<p1>The
Rorschach Test: Invented in 1921 by H
erma
nn Rorschach.</p1>
<p2>It was widely
used in the
40’s an
d 50’s a
nd was synony
mous with clinical psycholog
y in those
two
decades. B
y 1955 there
were more than 3,000 Articles
that were published about th
e test. By 1957 There were 5 major
methods
of th
e test: Beck,
Hertz, K
lopfer,
Piotrowski, an
d Ra
paport-Schafer. T
he test is a
n extremely co
mplex, highly evolved
system
of categorizing
and
docu
menting a
huma
n response to ink
blot plates or cards. There are still o
nly 10 ink
blot cards,
always shown
in the
same
order. Card
1 will have the sa
me image on it n
o matter w
here the
test is taken, this is the sa
me
for
all
the
cards. T
he ima
ge
for
each separate
card has n
ot changed.</p3>
PEO
PLE
/ 5
7
<p3>The
Rorschach Test co
mes fully loa
ded with controversy as there are m
any points that q
uestions the
test’s
accuracy
an
d purpose
in the
clinical field. Those who advocate a
bandonment of the
Rorschach usually cite
any
or all of
three
basic
argu
ments.
The
first
is that predictions m
ade
actuarially are e
qual or superior to those derived
by the
clinical
method.
The
second
is that
the fin
dings or the
Rorschach are n
egative. T
he third is that it should not b
e the
primary
task of
a clinician, especially
if it is all time consuming.</p4>
<p4>Here are some
of the
basics for the test:</p5>
<p5>Seating:
-It
is recommen
ded
to sit in the most neutral position as p
ossible while a
dministering the test.
Dep
ending o
n the
method,
there
are
several
ways for the
examiner to sit d
own in a
pproximation to the
subject. Ror & Be
ck sit b
ehind
the
subject, Piot
sits infront,
face to face a
nd Klop & Hert sit to the side.</p6>
<p6>Instructions:
-Introdu
ce the
test
followed by the
instructions.
-Cards should
be
out of the reach of the
subject.
-Sug
gest that
there
is n
o “right” or “wrong” answ
er(s)
-A p
ossible
trial
blot to encourage the subject
-Record
the
best/ w
orse impression.</p6>
<p7>Free
Association
Period:
-Exanimer m
ust
record all data from the moment the card is hande
d to the
subject. Silence is sug
gested
from
the
examiner, b
ut
only
interrupted
whe
n absolutely vital.
Any verbalizations fro
m the examiner should be
thought o
ut.</p7>
<p8>Co
mmon
Questions fro
m the Subject & Answers from the Examiner:
S-Can
I turn the
cards?
E-It is
up to
you.
S-Can
I use
the
whole thing?
E-Whatever
you
like,
different people see different things.
S-Should
I use
my
imagination?
E-Yes, just
tell m
e what you see.
S-Should
I see
more
than
one
thing?
E-Most
people
see
more than
one
thing.</p8>
<p9>Presentation
of the
Cards:
-Cards should
be
hande
d to the
subject
-5-10
minute m
ax
on
each card.
E-Let
me
know
whe
n you are finishe
d with it</p9>.
<p10>Timing:
-Record
time
on
all
cards. T
his is a
n important part of the
test, h
owever, it m
ust not hinder
the
test in
anyway.
-Subject m
ust
not b
e aware that they are b
eing timed.</p10>
<p11>Recording Responses: Record all verbalizations fro
m the subject, verbatim. -Use abriviations
-Must
record the
position of the
card whe
n the subject speaks. (<,>,o,̂,v)</p11>
<p12>Sample:
I- 4”6”
4”11”
S-ths
lla
bat
2 me
E -You
said ths lla bat 2 m
e?S-yea, thts
rite,
it ll it has w
gs o
ut h
ere &
feelers or feet in frnt
E-I’m
not q
uite clear @ w
ht prt of the blot ur
using
S- O
the
w thg c
here r the wgs & h
er’s the
body</p12>
<p13>Scoring:
Consists of 4 basic categories:
1 Location
(which part of the
blot the subject
responde
d to)
2 Determinants
(what
features of the blot attributed to the
information
3 Content (what
is the
class of content)
4 Popularity
(is
it common to gen
eral p
opularity, o
nly free
association is scored.</p13>
<p14>This is just
the
beginning of what seems
to be one
of the most co
mplex ways of testing every
created. I
always
had
an
interest in
this test
because of the subject matter that is evolved in the
test. T
he blots are very
ambigu
ous a
nd
I always
thoug
ht a
bout w
hat
I see in the
m. T
heir alm
ost bilateral sy
mmetry
is so visually ap
pealing to
me, b
ut a
dding the
idea
that the
blots
can
be
interpreted
to g
auge
a humans p
syche
is m
akes
them
conceptually intriguing. I
also
find
it e
xtremely
fascinating
because of the patterns of interpretation an
d the results of w
hat people see. T
he very
idea of
test like
this
is mind
altering to
me. Testing through patterns? It see
ms like such a stran
ge concept. T
he scoring of
the
actual test
and
results
are
very
dense a
nd an
other subject of interest for me. T
he study
of perso
nalities a
nd behavioral
patterns,
are
a strong
interest
of mine
and
can
be
seen
in
my
own
work. T
his
test e
ncompasses a
lot of
what
my
actual interest
are, s
o it
is not surprising that I a
m draw
n to it. W
hile d
oing m
y research, I foun
d so m
uch more ab
out the test that I was not aware
of.
I foun
d that m
ost of the
information online is false a
nd the the conde
nsed versions o
nline
are
trivial
at b
est. I
did n
ot
know
it was so
a co
mplex test, a
nd the more I read ab
out it, the
more I wa
nt to learn. I also
foun
d out that
the
test is
pretty exp
ensive to
buy
and can only be administered by a professional. It takes years of practice
and
to even
take classes,
which are a
bout a
grand a piece, you have to
have a
n M. D.</p14>
<META
NAME=“Patrick”>
/*PAGES
32-33*/
<h10>THE DELETED CIT
Y<h/10>
<p1>The
Deleted
City is a digital archae
olog
y of the
world wide web as it explode
d into the
21st
century. At
that time
the
web
was often
described
as a
n en
ormous digital library
that you
could
visit
or contribute
to b
y building
a homep
age. T
he
early
citizens of
the
net (or n
etizens) took
their
netizenship serious,
and
built h
omep
ages a
bout themselves a
nd
subjects
they w
ere experts in. Th
ese pion
eers fou
nd their brave ne
w world at Ge
ocities, a free web
hosting provider that was modelled
after
a city a
nd
where you could get a free
“piece of lan
d” to build your digital h
ome in a certain n
eigh
bourhood
based
on
the
subject
of your h
omepage. H
eartland was –
as a n
eigb
ourhood for all things rural – by far
the
largest, b
ut there w
ere
neighb
ourhoods for fashion, arts an
d far east related topics to na
me just a few. Aroun
d the turn of
the
century, G
eocities
PEO
PLE
/ 5
9
had
tens of
millions of “homesteaders” as the
digital ten
nants were called an
d was bought by Yahoo! for three
and
a half
billion dollars. Ten years later in 2009, as other m
etap
hors of the internet (such as the social network) had taken over,
and the
homesteaders had left their properties vacant after migrating to Faceb
ook, G
eocities was shutdown
and
deleted. In
an h
eroic effort to
preserve 10 years of collaborative work by 35 million people, the
Archive Team
made
a backup
of the
site just
before
it shut down. T
he resulting 650 Gigabyte bittorrent file is the digital Po
mpeii
that is
the
subject
of a
n interactive
excavation that allows
you to wan
der through an
episo
de of recent o
nline history.</p1>
<META NAME=“Joey”>
/*PAGES
32-33*/
<h11>THE DELETED CIT
Y</h11>
<p1>Mayb
e it’s just the fact that the official day has been set for Oct. 31 — Halloween — but there’s a distinct whiff of pa
nic
and
fear aroun
d the
expected birth of the
7 billionth perso
n on the plan
et. Here’s Roger Martin, chair of
the
NGO
Population
Matters, writing in
the Guardian
recently:</p1>
<p2>The
7 Billion
Day is a sobering reminder of o
ur planet’s predicament. W
e are increasing by 10,000
an
hour.
The
median
UN
forecast is
9.3
billion by 2050, b
ut the
ran
ge varies by 2.5 billion — the total world p
opulation
1950 —
dep
ending o
n how
we
work
it o
ut.</p2>
<p3>Every additional perso
n needs
fo
od water and energy, and produces more waste and pollution, so
ratchets up our
total impact o
n the planet, an
d ratchets down everyone else’s share — the rich far m
ore than the p
oor. By definition, total
impact a
nd
consumption are worked out by measuring the
average p
er p
erso
n multiplied by the
number of
people. T
hus
all
environmental
(and
many e
conomic an
d so
cial)
problems
are easier to solve with fewer p
eople, a
nd
ultimately impossible
with
ever m
ore.</p3>
<p4>Until the
7 billion threshold was ap
proached recently, population growth had largely disappeared
as a
major international
issu
e — a far cry from th
e 1970s, when Malthusian th
ought was
ba
ck in fashion and co
untries
like India and China were
taking brutally co
ercive teps
to
curb
population growth. That’s partially a reaction to
th
ose dark
days — right-thinking
environmentalists
didn’t
want to
be
asso
ciated
with u
njust
policies, a
nd
so p
opulation
became
the
green
issue
that dare
not
speak
its
name. B
ut I
also
think
that w
hen
the
6 billionth
perso
n rolled
around
— just 12
years
ago
— th
e world w
as in
a very
different
and
much brighter place.
It’s a
lot easier
to feel sunny a
bout the
idea of
the
planet growing
more
crowded
when
the
global
economy
is h
umming,
there
are
few
major conflicts
ongoing
and
you
can
take a
water b
ottle
throug
h airp
ort
security.</p4>
<p5>Things, of co
urse, are a little darker in 2011, so
su
ddenly more people just se
em like more mouths
to
feed, more
competitors at th
e marketplace, more stra
ws in th
e milk shake. You can se
e it in th
e way
that im
migration has once again
become a hot-button
political issue in the U.S., or the rise of p
opulation induced ap
ocalyptic fears. Are w
e going to breed
ourselves out of existence? Is there room on the planet to sup
port 7 billion–plus p
eople?</p5>
<p6>Take a
dee
p breath. The
answer is yes — an
d not just because you could fit 7 billion people
in the
state of
Texas
and
it
would
only
have the
population de
nsity of N
ew York City, which I can
tell you from perso
nal experience
isn’t
that bad. W
e’re
a long way fro
m Soylent Green territory here.
As Joel Cohe
n of Rockefeller University p
ointed out in
the
New
York Times
recently, we have more than enough fo
od, water and other esse
ntials to
keep every one of th
e 7 billion — and far more —
perfectly h
ealthy:</p6>
<p7>In fact, the
world is physically capable of fee
ding, sheltering a
nd enriching ma
ny m
ore people
in the
short
term. B
etwee
n 1820,
at the
dawn
of the
industrial age, an
d 2008, whe
n the world e
conomy entered recession, e
conomic
output p
er p
erso
n increased
elevenfold.</p7>
<p8>Life exp
ectanc
y tripled in the
last few thousan
d years, to a global average of n
early 70 years.
The
average n
umber of
children p
er w
oma
n fell w
orldwide
to ab
out 2.5 n
ow from 5 in 1950. T
he w
orld’s p
opulation is growing at
1.1. p
ercent p
er year,
half the
peak
rate in the 1960s. T
he slowing growth rate enables families a
nd so
cieties to focus
on
the
well-being of
their
children rather
than
the
quantity.</p8>
<p9>It’s n
ot she
er p
opulation growth that is stressing o
ut the
planet — it’s w
hat those people
are
produ
cing a
nd
consuming.
It’s n
otable that
much of the
concern over p
opulation growth ten
ds to focus on sub-Saharan Africa a
nd
the
developing w
orld.
That may
be where population is growing fastest, but poor
Uganda
ns and Nigerians
use a tiny
proportion of th
e world’s
reso
urces co
mpared
with rich Westerners, even if o
ur p
opulations have begun
to stabilize. H
ere’s
how
Jared
Diamond
— of G
uns,
Germs,
and
Steel
fame. T
he p
opulation especially of the
developing w
orld is growing, an
d so
me people
remain fixated
on
this.
They
note
that p
opulations of countries like Kenya are growing rapidly, an
d they say that’s a big
problem.Yes, it
is a
problem
for
Kenya’s
more
than
30 million people, b
ut it’s not a b
urde
n on the whole world, because Kenyans consume
so little. (Their
relative per ca
pita rate is 1.) A real problem for th
e world is that each
of th
e 30
0 million people in th
e U.S. co
nsumes
as
much
as 32
Kenyans
do. With 10 times the
population, the
U.S. consumes 320 times m
ore reso
urces
than
Kenya d
oes.</p9>
<p10>A billion
people— that’s 1 in 7 — go h
ungry aroun
d the world today, b
ut that’s not b
ecause the
planet
is incap
able of
produ
cing enoug
h food to fee
d them. After all, as m
uch as half the food produ
ced worldwide
ends u
p wasted, either
rotting
in
the
fields, the
markets or in o
ur refrigerator. W
e could feed 7 billion, 8 billion, 9 billion an
d proba
bly
more
— if w
e chose
to d
o so.</p10>
<p11>That’s
one
of the
reasons I’m relatively
sang
uine
about the
population
issue. It’s
basically
impossible
to predict the
future,
and
past p
erforma
nce is n
o guarantee
of future results. B
ut h
uma
nity has b
een pretty good
so far at
responding to
the
challenges this
plan
et p
uts before us, an
d I see little reaso
n to exp
ect that will chan
ge.
More
people, after all,
does
mean
more potential problem solvers, n
ot just
more mouths to feed.</p11>
<p12>But th
ere’s an undeniable cost to
all th
ese people and all this growth: th
e planet itself. Even as
human beings
have
grown in numbers and
wealth, becoming healthier and
more robust, other species have suffered. A study last year in Science
found
that o
n average, 52
species
of m
ammals, birds a
nd
amphibians m
ove
one
category
closer to
extinction
every
year.
Almost
one-fifth of existing vertebrates spe
cies are threatene
d, including some 41% of a
mphibians. Another recent Science study fou
nd
that h
uma
ns are d
estroying ap
ex predators like tigers, wolves or sharks, w
hich the
n has a major
knock-on
effect d
own
the
food chain.</p12>
<p13>A
nd as
our numbers increase, other sp
ecies
decrease. A Nature Study found that we are already entering a period of
historic extinctions — p
erhaps the
sixth great “extinction wave.” It doesn’t seem to m
atter that w
e keep p
utting m
ore
and
more
of the
planet
under protection for nature. Our she
er n
umbers — an
d our m
aterial ne
eds, our carbon
emissions,
our waste
— leave less and
less room for other species, or at least,spe
cies that do
n’t depend
directly on
us, like do
mestic animals an
d
PEO
PLE
/ 6
1
pests.
We
may
be
heade
d toward a planet that sup
ports 7 billion, 8 billion, 9 billion people — but n
ot m
uch
else.
It’s n
ot
exactly
the
overpopulated ap
ocalypse that science fiction an
d so
me environmentalists would have us
fear,
but it
would
still
be
an incalculably
lessen
ed world.</p13>
<META
NAME=“Patrick”>
/*PAGES
34-35*/
<h12>W
E LIVE
IN
PUBLIC</h12>
<p1>I watch
ed this craz
y docu
mentar
y over th
e weekend about esse
ntially th
e rise
and fall of this intern
et “m
ogul” from
the
90′s Josh
Harris.
The
docu
mentary
is by film
maker Ondi Timoner an
d it is called “W
e Live in
Public.” If
you
watch
the
trailer yo
u can get a main idea of th
e different kinds
of ideas he was
exp
erim
enting with. He basically ha
d known how th
e internet was going to be w
orking and how we were all going to be using it a decade before any of it happ
ened. His experiment
“Quiet:
We
Live in
Public” I believe was a p
hysical interpretation of his predictions. The
doc
also touche
d on
the
idea that
any
information yo
u put out into th
e world no longer belong
s to yo
u, bringing
up questions of intern
et privacy. Another
interesting
part was watching how the “citizens” of the experiment became detached from one
another
and
from
themselves
as a
result of being watche
d an
d watching one another 24/7. The same type
of experience hap
pene
d to Harris when he con
ducted the
experiment
on
himself. T
here’s n
o de
nying that there are a lot of truths to everything that Harris predicted
and
I think
his
work
is interesting a
nd was de
finitely ah
ead of his time. I kind of lost respect for him as a h
uma
n being thoug
h because of
the
way
he
treated
other p
eople. …
Also
it
was
funny b
ecause
I ha
d never h
eard of
him
and
I felt like
I sh
ould
have since h
e caused
all
this commotion. …I’m not q
uite sure
if I was sup
posed to give my own perso
nal review
of
the
film…I’ll
also include
so
me
other
articles a
nd review
s for you to look at. BT
W You can watch the film on Netflix a
nd on
Hulu.</p1>
<p2>Here’s the
Syn
opsis fro
m the film’s website http://www.weliveinp
ublicthe
movie.com/ab
out-2/</p2>
<p3>Ten
years
in the
making an
d culled from 5000
hours of footage, W
E LIVE
IN PUBLIC reveals the
effect
the
web is
having o
n our society, as
seen through the eyes of “the
greatest Internet pione
er you’ve n
ever h
eard of”,
artist,
futurist a
nd
visionary
Josh
Harris. Award-winning director
Ondi Timoner (DIG! – which
also
won th
e Su
nda
nce Grand Jury Prize in 2004 – making
Timoner th
e only director
to
win that prestigious
award tw
ice) docu
mented his tu
multu
ous
life for more than a deca
de to
create a
riveting, cautionary
tale of w
hat to exp
ectas the virtual world inevitably takes control
of o
ur lives.</p3>
<p4>Harris,
oftencalled the “Warhol of the Web”, foun
ded Pseu
do.co
m, the
first Internet television
netw
ork
during the
infamous
dot-com
boom
of the
1990s. He
also curated an
d funde
d the groun
d breaking project “Quiet” in a
n un
dergroun
d bun
ker
in N
YC
where over 100 people live
d to
geth
er on ca
mera for 30
days at th
e turn
of th
e millennium. With
Quiet, Harris proved how we
willingly trad
e our privacy for the connection and
recognition
we all deeply desire, b
ut with every technological ad
vancement
such as
MySpa
ce,
and
Twitter,becomes m
ore
elusive. T
hroug
h his
experiments,
including
a six-m
onth
stint
living
with
his
girlfriend
under
24-hour electronic surveillan
ce w
hich led to his m
ental collapse, Harris d
emonstrated
the
price
we
pay
for
living in
public.</p4>
<p5>http://tma
gazine.blogs.nytimes.com/2009/03/18/coming-soon-we-live-in-public/
“We
Live in
Public,” O
ndi Timoner’s docu
mentary
winner of the
Sun
dance Gran
d Jury
Prize, traces the
wacky
life of
Josh Harris,
the “greatest Intern
et pioneer yo
u’ve never heard of.” In th
e downtown Ma
nhattan circles of th
e ’90s, Harris was
th
e “Internet Gu
y” w
ho
supported cutting-edge artists an
d threw great parties. B
ut in Timoner’s film
he was also
a so
cial
visionary.
After
making millions with Jupiter Co
mmunications, Harris foun
ded Pseu
do.co
m, the
world’s first
Web T
V netw
ork,
in 1994. T
he m
edia
christen
ed him the “Warhol of the Web” for his Factory-like studio, b
ut Pseudo.co
m ultimately collapsed
than
ks to
Harris’s o
ddball antics, which include
d dressing u
p for business meetings as Luv
vy, a
n alter
ego
based
on
his
mother
and
a character from “Gilligan’s Island.”</p5>
<p6>Harris’s greatest folly, however, was
an art exp
erim
ent called “Quiet: We Live in Pu
blic,” in which
100 participants in
oran
ge u
niforms
lived together for a m
onth in a
bun
ker un
der 24-hour surveillance, d
uring the turn of
the
millen
nium. M
odels,
artists, techies a
nd
hipsters watched each other o
nline while they slept, ate, had sex an
d went
to the
bathroom. Soon
after,
he turn
ed th
e ca
mera on himself and his girlfriend, allowing th
eir relationship to
be discusse
d by
plugge
d-in viewers. The
constant p
ublic
scrutiny eventually led to Harris’s mental breakdown — which, in retrospect, m
akes his story
a compelling
cautionary tale for a so
ciety obs
esse
d with
posting practically all of our lives on Twitter, Facebook, YouTube et al.</p6>
<META
NAME=“Rachel”>
PEO
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/ 6
3
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PEO
PLE
/ 6
5
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OB
OT
THA
T CA
N
WA
LK W
ITH
OU
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OR
POST
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RQ
UIT
ECTU
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ICO
POST
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.com
/201
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445/
ECO
/ 6
9
BEC
AU
SE Y
OU
DO
N’T
HA
VE
TO B
E A
AH
OB
BIT
TO
LIV
ESU
BTE
RR
AN
EOU
SLY
POST
ED B
Y PA
TRIC
K
http
://g
radw
ow.w
ordp
ress
.com
/201
1/10
/19/
445/
ECO
/ 7
1
DY
MA
XIO
N C
AR
POST
ED B
Y M
IKEY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/10
/26/
dym
axio
n-ca
r/
ECO
/ 7
3
EMER
GEN
CY
+ D
ISA
STER
POST
ED B
Y M
IKEY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/11
/02/
emer
genc
y-di
saste
r/
ECO
/ 7
5
ENLI
GH
TEN
ING
NEE
DED
…PO
STED
BY
TRA
CEY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/11
/02/
emer
genc
y-di
saste
r/
ECO
/ 7
7
HA
NS
BR
INK
ER
BU
DG
ET H
OTE
LPO
STED
BY
DAV
IS
http
://g
radw
ow.w
ordp
ress
.com
/201
1/10
/26/
hans
-brin
ker-b
udge
t-hot
el/
ECO
/ 7
9
ECO
/ 8
1
HO
W D
ESIG
N C
AN
SA
VE
NY
C W
HEN
TH
E N
EXT
BIG
STO
RM
HIT
S
POST
ED B
Y JO
EY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/14/
how
-des
ign-
can-
save
-nyc
-whe
n-th
e-ne
xt-b
ig-st
orm
-hits
/
ECO
/ 8
3
IT I
S FI
NA
LLY
HA
PPEN
ING
!…
HO
USE
HO
LD R
OB
OTS
!
POST
ED B
Y PA
TRIC
K
http
://g
radw
ow.w
ordp
ress
.com
/201
1/10
/05/
it-is-
final
ly-h
appe
ning
-hou
seho
ld-ro
bots/
ECO
/ 8
5
LAN
DFO
RM
BU
ILD
ING
POST
ED B
Y M
IKEY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/21/
land
form
-bui
ldin
g/
ECO
/ 8
7
LIG
HT
EXPER
IMEN
TSPO
STED
BY
TRA
CY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/10
/26/
light
-exp
erim
ents/
ECO
/ 8
9
LIG
HTB
ULB
S M
AD
E O
F PA
PER
ELI
MIN
ATE
PA
CK
AG
ING
POST
ED B
Y RA
CH
EL
http
://g
radw
ow.w
ordp
ress
.com
/201
1/11
/02/
light
bulb
s-mad
e-of
-pap
er-e
limin
ate-
pack
agin
g/
ECO
/ 9
1
NIK
E B
ETTE
R W
OR
LDPO
STED
BY
SARI
N
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/21/
nike
-bet
ter-w
orld
/
ECO
/ 9
3
RED
ESIG
NED
REU
SED
AB
AN
DO
NED
RA
ILW
AY
SPO
STED
BY
TRA
CY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/11
/02/
rede
signe
d-re
used
-aba
ndon
ed-ra
ilway
s/
ECO
/ 9
5
UN
DER
STA
ND
ING
OTH
ER S
PEC
IES
POST
ED B
Y TR
AC
Y
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/21/
unde
rsta
ndin
g-ot
her-s
peci
es/
ECO
/ 9
7
USE
FUL
+ A
GR
EEA
BLE
HO
USE
POST
ED B
Y SA
RIN
http
://g
radw
ow.w
ordp
ress
.com
/201
1/10
/12/
usef
ul-a
gree
able
-hou
se/
ECO
/ 9
9
AN
IMA
LSPO
STED
BY
PATR
ICK
http
://g
radw
ow.w
ordp
ress
.com
WO
W
ECO
/ 1
01
DY
MA
XIO
N C
AR
POST
ED B
Y M
IKEY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/11
/19/
dym
axio
n-ca
r-2/
WO
W
ECO
/ 1
03
LIG
HT
FACSI
MIL
EPO
STED
BY
TRA
CY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/11
/21/
light
-facs
imile
/
WO
W
ECO
/ 1
05
AG
REE
AB
LE F
ACSI
MIL
EPO
STED
BY
SARI
N
http
://g
radw
ow.w
ordp
ress
.com
/201
1/11
/22/
rece
ipts-
and-
usef
ul-a
gree
able
-facs
imile
/
WO
W
ECO
/ 1
07
TAR
OT
SHEL
LSPO
STED
BY
TRA
CY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/11
/21/
taro
t-she
lls/
WO
W
ECO
/ 1
09
/*PA
GE 6
6-67
*/
<h1>
A RO
BOT
THAT
CAN
WALK WITHOUT MOTORS OR EL
ECTRICITY<
/h1>
<p1>
Befo
re t
here
was
Arnold (or AH-nuld), ther
e were probably things like this: robots that ca
n wa
lk w
itho
ut s
enso
rs o
r othe
r sp
ecia
l me
ans
of propulsion. What would it say if it could talk? Probably “Look ma, no
mot
ors
or e
lect
rici
ty!”
</p1
>
<p2>
The
Cent
er L
ab a
t the Nagoya Institute of
Technology in Japan put what amounts to robo-thi
ghs,
cal
ves
and
ankl
es
toge
ther
, a
“pas
sive
walking robot” that’s been designed, according to DigInfo TV, “to walk
usin
g on
ly i
ts o
wn w
eigh
t with
out
any
moto
rs,
sensors, computers, or electricity.”
</p2>
<p3>
Chec
k ou
t th
ose
trotters: Who knew passive
walking robots would use golf clubs for feet (w
hat
do y
ou t
hink
, 5-
iron
s or
6?).
The
leg
s an
d fe
et have been designed to weigh about as much as an average person’s. How
to
get
it s
tart
ed:
Just
giv
e it a push. “This robot is walking down a slope, and its only source of power is potential energy,” says Nagoya Institute
rese
arch
er K
azuk
i Iw
atsuki, noting that the robot’s made of aluminum and only mechanical com
pone
nts,
and
tha
t be
caus
e it
does
n’t
use
a mo
tor,
it’s “very environmentally friendly.”
</3>
<p4>
In a
rec
ent
test
, this thing managed to wa
lk for 13 hours straight, taking about 100,000 s
teps
, wh
ich
adds
up
to
15 k
ilom
eter
s or
9.3
2 miles, an achievement now listed as a Guinness World Record.Next up, c
omme
rcia
l po
ssib
ilit
ies,
incl
udin
g a
vers
ion
that attaches to your legs and might help you walk more easily if you ha
ve d
iffic
ulty
doi
ng s
o.</
p4>
By:
Matt
Per
ckha
m
<MET
A NA
ME=“
Sari
n”>
/*PA
GE 6
8-69
*/
<h2>
JAVI
ER S
ENOS
IAN
OF ARQUITECTUREA ORGANICA
IN MEXICO<
/h2>
<p1>
http
://w
ww.a
rest
design.com/architecture/na
ture-inspired-home-design-nautilus-house-by-javi
er-s
enos
iain
-of-
arqu
itec
tura
-org
anic
a-0087.htm arquitecturaorganica.com<
/p1>
<p2>
I co
uld
not
help
but be curious about a ho
use shaped like a nautilus. It is designed by Ja
vier
Sen
osia
n of
Arqu
itec
ture
a Or
gani
ca in Mexico. He has done several home designs like this based on natura
l or
gani
c fo
rms.
One
fea
ture
I
like
abo
ut t
he h
ouse
is the entrance or living room when you first walkout in. It looks as th
ough
the
out
door
s ar
e pa
rt o
f the
inte
rior
of
the
house, with grass and plants surrounding the seating area. The house has
a f
utur
isti
c fe
el t
o it
wit
h all
the
curv
es a
nd r
ounded surfaces. This had to be the most whimsical and imaginative house
I h
ave
ever
see
n wh
ere
peop
le
actu
ally
liv
e in
it.
There is something unsettling about the house, is there only one exit?
Here
s a
vide
o</
p2>
<p3>
http
://w
ww.a
rqui
tecturaorganica.com/nautil
usweb.htm<
/p3>
<p4>
Side
not
e: I
was
going to write about Bob
Dylans exhibit at the Gagosian since we are work
ing
on f
acsi
mile
s…</
p4>
<p5>
http
://a
rtsb
eat.
blogs.nytimes.com/2011/09/
26/questions-raised-about-dylan-show-at-gagosian
/</
p5>
<MET
A NA
ME=“
Trac
y”>
ECO
/ 1
11
/*PA
GE 7
0-71
*/
<h3>
BECA
USE
YOU
DON’
T HAVE TO BE A HOBBIT TO L
IVE SUBTERRANEOUSLY<
/h3>
<p1>
Eart
h Ho
use
Loca
tion: Jipyeong-myeon, Yang
pyeong-gun, Gyeonggi-do, Korea Architect: Byoung
soo
Cho
You
can
take
the
name
of
Eart
h Ho
use
literally. The six-room home isn’t just buried underground; it’s actual
ly m
ade
of s
oil
exca
vate
d fr
om
the site. Rammed-earth walls divide the home’s interior spaces, and since they’re made of a white concrete/lime mixture,
they will degrade as the house ages, giving Earth House a limited lifespan. In fact, BCHO designed the whole site to
deca
y. T
alk
abou
t an
extreme take on sustainability<
/p1>
.
<p2>
The
hous
e us
es a
geothermal cooling system
with a radiant heating system under the rammed
clay
and
con
cret
e flo
or.</
p2>
<p3>
The
hous
e ha
s a
small kitchen, a study, tw
o resting rooms, and a bathroom with a wooden tu
b an
d to
ilet
. Ev
ery
room
open
s di
rect
ly t
o th
e earth-filled courtyard.
</p3>
<p4>
Pach
acam
ac H
ouse
Location: Pachacamac, Lim
a, Peru Architect: Longhi Architects Photos cour
tesy
: El
sa R
amir
ez,
Juan
Sola
no,
Chol
on P
hoto
graphy
</p4>
<p5>Located south of Lima, near the Peruvian coast, the Pachacamac House disappears into the landscape, save for a
prom
inen
t gl
ass
towe
r on what would be the ground floor. Two of the three levels are buried i
n th
e gr
ound
in
an a
ttem
pt t
o crea
te a
“st
rong
sen
se of protection and appreciation of the dark and the light.” No surpris
e th
at s
uch
a th
ough
tful
hom
e belo
ngs
to t
wo r
etir
ed philosophers.
</p5>
<p6>
Long
hi A
rchi
tect
s explains: “The response
to the site was to bury the house inside the hil
l, t
ryin
g to
cre
ate
a bala
nced
dia
logu
e be
tween architecture and landscape.”
</p6>
<p7>I always thought that the underground homes were interesting for their submersion into echo friendly living. The
Earth House takes the idea of an echo friendly house to the next level. It is a house that decays with the environment.
Now
I do
not
kno
w ho
w safe that really is, but it seems to be a modern day adobe style clay
hou
se.
The
se t
wo h
ouse
s ar
e exce
ptio
nal
comp
ared
to most of the earth houses that I have seen. Enjoy
</p7>
<MET
A NA
ME=“
Patr
ick”
>
/*PA
GE 7
2-73
*/
<h4>
DYMA
XION
CAR
</h4
> <p1>For the facsimile project process, I began with researching the Dymaxion Car and determining a few adjectives to
describe the vehicle. I found the concept car to be Aerodynamic and easily turn-able. While researching I also discovered
that the dymaxion car, although designed by Buckminster Fuller in the late 2o’s, does not have a scale model kit
avai
labl
e. F
rom
this
step i chose to make a model of the concept car,fashioned from balsa wo
od,
to r
epre
sent
the
mod
el
airc
raft
kit
s. O
nce
I purchased the balsa wood the size of the model was determined based of
f of
ava
ilab
le m
ater
ials
.
The
shee
ts I
pur
chas
ed were 6 in x 18 in.<
/p1>
<p2>
I ma
de a
des
ign
in illustrator and then
delivered this file to be the rapid proto type.I
didn
’t h
ave
a pr
intc
ard
so
i bo
rrow
ed o
ne f
rom
a product designer… $8 later and my model kit was finished. I then realized
tha
t my
file
mea
sure
ment
s wher
e in
corr
ect.
I t
hen had to sand each piece individually in-order to assemble the kit. I br
oke
two
piec
es a
nd g
ot a
blister on my thumb. I then sat for about an hour and a half designing the instructions as a poster that would fit the
dimensions of the kit… three sheets of balsa wood each at 6×18. There for the poster/instructions came out to 18×18. The
post
er d
esig
n be
gan
with importing the original illustrator files from the model kit. I then be
gan
rese
arch
ing
quot
es m
ade
by B
uckm
inst
er F
ulle
r on the construction of models. I also then began researching his book ‘C
riti
cal
Path
” th
e ch
osen
quot
es w
ere
as f
ollo
ws..,<
/p2>
<p3>
“Thi
s wa
s th
e be
ginning of the downfall
of the world-esteemed integrity of Yankee ingenu
ity,
whi
ch w
as
freq
uent
ly,
fort
hrig
htly, and often naively manifest in American business. Big business in the
U.S
.A.
set
out
to m
ake
mone
y de
ceit
full
y—by
fake “new models”—and engineering design advance was replaced by “style”
desi
gn c
hang
e.”</
p3>
<p4>
as w
ell
as…
“If
you cant make a model of
it, then it ain’t worth talking about.” I attempt
ed t
o de
sign
a p
oste
r th
at
refle
cted
the
for
ward
thinking of Buckminster Fuller coupled with the ease in which the Dymaxio
n Ca
r co
uld
make
a u
-tur
n.
Upon
pri
ntin
g th
e po
ster/ instructions i then folded up all three sheets into the poster.</p4
>
<p5>Aerodynamic and conceptual. It requires users to interact with it in-order to literally “build” the model of the
car. Currently there is no paper “skin” to apply over the balsa wood. Also the kit could be redesigned in order to more
succ
essf
ully
dem
onst
rate the attribute of the original concept car. The instructions function
more
as
a co
ncep
tual
pos
ter,
whic
h do
es r
eflec
t fo
rward movement. It contains both quote from the original inventor and loos
e in
stru
ctio
n fo
r as
semb
ly
of t
he k
it.<
/p5>
<MET
A NA
ME=“
Mike
y”>
/*PA
GE 7
4-75
*/
<h5>
EMER
GENC
Y +
DISA
STER
</h5>
<p1>
http
://h
isz.
rsoe
.hu/alertmap/index2.php<
/p1>
<p2>
Emer
genc
y an
d Di
saster Information Servi
ceThis
is
a gr
eat
mapp
ing program that is provided free of charge. It maps all emergencies and d
isas
ters
on
a gl
obal
leve
l.</
p2>
<p3>
For
toda
y So
uthe
rn California has two pr
oblem areas<
/p3>
<p4>
-A N
UCLE
AR R
EACT
OR LEAK IN SAN ONOFRE
-A M
AGNI
TUDE
2.7
EAR
THQUAKE NORTH OF VENTURA
</p4>
<p5>
The
RSOE
EDI
S pr
ovides a vast amount of
information regarding epidemics, natural disasters
and
the
sev
erit
y of
suc
h even
ts</
p5>.
<p6>
The
serv
ice
uses
google earth, proving a
mazing graphic clarity, plus up to date informatio
n wh
ich
cold
be
valu
able
for
ECO
/ 1
13
rese
arch
or
trav
el.<
/p7>
<MET
A NA
ME=“
Mike
y”>
/*PA
GE 7
6-77
*/
<h6>
ENLI
GHTE
NING
NEE
DED...
</h6>
<p1>I had a difficult time deciding on a facsimile project because there are so many things I wish I could have made,
and
when
I l
ook
at t
hem I feel intimidated because I know I couldn’t come close to making anyt
hing
lik
e th
ese
thin
gs.
I st
arte
d ou
t lo
okin
g at Tord Boontje, I have a card designed by him, and because it is made o
f di
e cu
t pa
per,
tho
ugh
complex, seems almost like something I try to do my own version of it. I love all of his work, and that he designs various
things, lights, furniture, jewelry, textiles etc. I started looking at other light designers, and the light installation
imag
es t
hat
I wa
s at
tracted to were that of Bruce Munro. He also uses complexity, color, repet
itio
n, a
nd o
rgan
ic f
orms
. He is a hybrid of a sculptor, installation artist lighting designer. In the past, I was interested in a small lighting
design company called Galbraith and Paul, whom I found in a light-making craft book I have. It is the simple designs and
prin
ts t
hat
I am
att
racted to, and because they had also learned paper-making in Japan as I ha
d, I
fan
tasi
zed
to b
e ab
le
to h
ave
a co
mpan
y li
ke theirs, (but I don’t think I have the business sense or nerve to do it)
. Th
ey h
ave
also
bra
nche
d into textile design as well, since I have looked at their website. Lastly, is Isamu Noguchi’s lighting designs. I worked
on a
n No
guch
i ex
hibi
t and at the Noguchi Museum, where I was able to install the lanterns and
see
them
up
clos
e, s
o I
had
an i
dea
of h
ow t
hey
were constructed. They are hand-made by master craftspeople who have been
maki
ng l
amps
for
yea
rs.
What
I li
ke a
bout
the
se i
s the that they are also complex in structure, but have a simple calming e
lega
nce,
tha
t is
tim
eles
s.
Well
, at
lea
st I
kno
w I want to make lights of some kind, but I haven’t a clue how.</p1>
<p2>
http
://t
ordb
oont
je.com/projects/other-pr
oducts/pearl-candelabra/
</p2>
<p3>
www.
desi
gnbo
om.c
om/weblog/keyword/bruce-
munro.html
</p3>
<p4>
http
://w
ww.g
albr
aithandpaul.com/lighting
.php
</p4>
<p5>
http
://d
orno
b.co
m/pattern-light-fixture-d
esigns-cast-stunning-wall-shadows?ref=search
</p5
>
<p6>
http
://w
ww.t
reeh
ugger.com/files/2008/02/c
entury-chandelier-propellor-design.php
</p6>
<MET
A NA
ME=“
Trac
y”>
/*PA
GE 7
8-81
*/
<h7>
HANS
BRI
NKER
BUD
GET HOTEL<
/h7>
<p1>
Hans
Bri
nker
Bud
get Hotel ad campaign do
ne by Kressels Kramer<
/p1>
<MET
A NA
ME=“
Davi
s”>
/*PA
GE 8
2-83
*/
<h8>
HOW
DESI
GN C
AN S
AVE NYC WHEN THE NEXT BIG
STORM HITS
</h8>
<p1>
In t
he w
ake
of I
rene, we revisit a proposa
l by Architecture Research Office to guard lower
Manh
atta
n ag
ains
t flo
od
dama
ge u
sing
so-
call
ed “soft” infrastructure–marshland, green roofs, and more</p1>.
<p2>
Last
Mar
ch,
MoMA
opened an exhibit on how
to adapt New York City to the watery effects of
clim
ate
chan
ge.
Risi
ng
Curr
ents
: Pr
ojec
ts f
or New York’s Waterfront was strangely clairvoyant. Irene was downgraded
to
a tr
opic
al s
torm
bef
ore
it
saun
tere
d in
to N
ew Y
ork and didn’t flood the city the way experts feared. But for the first ti
me,
New
York
Cit
y ha
d to
fac
e th
e fa
ct t
hat
its
infr
astr
uctu
re w
as d
eepl
y vu
lner
able
to
a ma
jor
stor
m. A
nd i
t’ll
onl
y ge
t wo
rse
as t
he c
ity
gets
wet
ter
and
its
weat
her
gets
wilder in the age of climate change.<
/p2>
<p3>
That
’s a
des
ign
problem. (For evidence, ju
st look to the mega-huge failure of design durin
g Hu
rric
ane
Katr
ina.
) So
it’s
wor
th r
evis
itin
g some of the ideas in the exhibit, in which five architecture firms showe
d ho
w th
e ci
ty c
ould
pri
me
itself to deal with storms instead of fortify itself against them. The architects called it “soft” infrastructure.
“We
want
ed t
o th
ink
about how the city could live with the larger natural phenomenon instead
of
wall
ing
it o
ff,”
Ada
m Yari
nsky
, pr
inci
pal
of Architecture Research Office(ARO), tells Co.Design. “That failed catas
trop
hica
lly
in N
ew O
rlea
ns.
It’s
abo
ut w
etla
nds
edges, green edges, and basically allowing water to come into select are
as o
f th
e ci
ty.”
</p3
>
<p4>
ARO
was
task
ed w
ith rethinking the design
of lower Manhattan, which includes the financial
dist
rict
, Gr
ound
Zer
o, a
nd
Batt
ery
Park
Cit
y, a
tony, yet vulnerable, residential development on landfill. According to
ARO’
s pr
edic
tion
s, r
apid
melt
ing
of t
he p
olar
ice cap will raise sea levels 6 feet by 2100, inundating 21% of Lower M
anha
ttan
at
high
tid
e. A
Cate
gory
2 h
urri
cane
, meanwhile, will stir up storm surges some 24 feet above that, flooding
a wh
oppi
ng 6
1% o
f th
e sa
me
area
.</p
4>
<p5>
The
arch
itec
ts’
solution: “In lieu of a li
teral wall around lower Manhattan, which would c
ost
mill
ions
of
doll
ars
but
woul
d on
ly p
erfo
rm in a flood, we proposed an ecological infrastructure that would allow
wate
r in
and
out
of
lowe
r Manh
atta
n,”
Yari
nsky
says. “We’re thinking about a continuum of land and water.”
</p5>
<p6>
That
wou
ld u
nfol
d in two ways: The edge of
the city would be peppered with islands and mar
shes
to
dimi
nish
the
for
ce
of s
torm
sur
ges,
and
the streets themselves would be more “porous”; in other words, they cou
ld fl
ood
with
out
shut
ting
dow
n the
city
. Ex
isti
ng s
ystems, like water, sewage, gas, and electric, would be relocated to wat
erpr
oof
vaul
ts b
enea
th t
he
sidewalk, and roads and buildings would be renovated with greenery and rainwater storage to help absorb rainfall and
chan
nel
stor
m-su
rge
inundation to New York Harbor. These solutions wouldn’t keep the streets
dry
. Bu
t th
at’s
the
poi
nt.
AsYa
rink
sy t
ells
it:
“Downtown will flood because the low-lying areas are below sea level and
bec
ause
of
tida
l co
ndit
ions
. It’s
not
abo
ut p
reve
nting flooding, anyway. It’s about mitigating the impact of flooding on th
e ci
ty,
and
livi
ng w
ith
the
fact
tha
t th
ere
are
times when the city would flood. But you can manage public spaces, improv
e th
e bu
ildi
ng s
tock
, an
d relo
cate
inf
rast
ruct
ure so it won’t be damaged.”
</p6>
<7>Such a holistic approach to urban design requires serious investment, both in time and money–two things cities never
have
eno
ugh
of.
The
good news: New York has already made some significant strides. As part of
Pla
NYC,
May
or B
loom
berg
has
comm
issi
oned
doz
ens
of acres parkland, which will help absorb stormwater runoff. More recent
ly,
the
city
iss
ued
an o
utli
ne
for
impr
ovin
g wa
ter
quality by supplementing traditional infrastructure with “soft” features
lik
e sw
ales
and
gre
en r
oofs
.
ECO
/ 1
15
As for the rest of it: Yarinsky hopes that Irene convinces New York to embark upon more drastic measures, like those
spel
led
out
in h
is R
ising Currents plan. “This was not a cataclysmic tragedy,” he says. “Thi
s is
an
oppo
rtun
ity
to d
o thin
gs b
ette
r, t
o li
ve in better balance with our environment. We’ve got time to let this wor
k ou
t. T
his
shou
ld b
e a
wake
-up c
all.
”</p
7>
<MET
A NA
ME=“
Joey
”>
/*PA
GE 8
4-85
*/
<h9>
HOUS
EHOL
D RO
BOTS
</h9>
<p1>
Work
Lif
e. F
rom
services to manufacturing,
people spend a lot of time doing repetitive tas
ks.
You
coul
d ma
ke s
omeo
ne
an A
pp f
or t
heir
ted
ious tasks making them more productive and their work more enjoyable.</p1
>
<p2>Personal Life. From doing dishes to doing laundry, Apps could do a lot of things we would rather leave to a
robot.</p2>
<p3>
Inde
pend
ence
. Fo
r someone who would otherw
ise need to live in an assisted facility, you co
uld
make
an
App
to l
et t
hem
live
ind
epen
dent
ly.<
/p3>
<p4>
Any
time
tha
t th
ere is an article about Ro
bots I feel it is my responsibility to post it.
Wil
low
Gara
ge,
a st
art-
up
in M
enio
Par
k, C
alif
., has designed a robot called the PR2 that bears some resemblance to “T
he J
etso
ns”
belo
ved
Rosi
e.
Alth
ough
thi
s ro
bot
is way to expensive at the moment it seems like a step in the right dire
ctio
n. A
ppar
entl
y, r
esea
rche
rs
can
by a
uni
t an
d ri
ght code for it, similar to designing in the cloud. Independent researc
hers
hav
e pr
ogra
med
it t
o pl
ay
pool
, fo
ld l
aund
ry a
nd bake cookies.
</p4>
<p5>
To l
earn
mor
e ab
out the PR2 visit: http://
www.willowgarage.com/<
/p5>
<MET
A NA
ME=“
Patr
ick”
>
/*PA
GE 8
6-87
*/
<h10
>LAN
DFOR
M BU
ILDI
NG</h10>
<p1>
By:
Geof
f Ma
naug
h</p1>
<p2>
From
Lan
dfor
m Bu
ilding: Architecture’s New
Terrain, designed by Thumb Projects].This eveni
ng,
Satu
rday
, Se
ptem
ber
17,
down
at
the
BMW
Gugg
enheim Lab, Marc McQuade and Stan Allen will be celebrating the release
of t
heir
rec
ent
book
Lan
dfor
m Buil
ding
: Ar
chit
ectu
re’s New Terrain, designed byThumb Projects.
</p2>
<p3>
From
Lan
dfor
m Bu
ilding: Architecture’s New
Terrain, designed by Thumb Projects].
The
book
is
a su
stai
ned look at “the evolving relationship between architecture and landscap
e,”
with
a s
peci
fic f
ocus
on g
eomo
rphi
c me
gast
ructures—that is, buildings that look like mountains and other earth for
ms—v
eget
ativ
e or
name
nt,
incl
udin
g gr
een
roof
s, and complex interpenetrations between architecture and the surface of
the
ear
th (
semi
- su
bter
rane
an
structures, structures penetrated by bedrock, and so forth). You can see some shots of the book itself here—
—and
you
’ll
lear
n mu
ch more about the publication at tonight’s book launch. There, you’ll he
ar f
rom
McQu
ade
and
Alle
n them
selv
es,
but
also
from Alejandro Zaera-Polo, Lucia Allais, Eric Sanderson, and Nina Katch
adou
rian
.</
p3>
<p4>
I’m
exci
ted
to b
e participating in this ev
ening’s event, as well, with a short, pecha kuch
a-st
yle
pres
enta
tion
, look
ing
at e
very
thin
g from constructed hills in Rome to artificial glaciers, and from the par
ticu
larl
y ve
rtig
inou
s para
noia
of
a ma
nmad
e earth to Celtic myths of the Hollow Hills. The quasi-mystical appeal o
f gr
ound
-pen
etra
ting
rad
ar,
muon
det
ecto
rs i
n th
e rain forest, and methane-ventilation technology used in landfill constr
ucti
on w
ill
all
make
bri
ef
appe
aran
ces.
</p4
>
<MET
A NA
ME=“
Mike
y”>
/*PA
GE 8
8-89
*/
<h11
>LIG
HT E
XPER
IMEN
TS</h11>
<p1>
I ha
ve a
lway
s wa
nted to design lights, and
began looking for lighting designs to create a
fac
simi
le o
f. A
fter
loo
king
at Tord Boontje and Bruce Munro, I felt the lights they made were too complex and required advanced technical knowledge. I
also
con
side
red
the
Akari lights by Isamu Noguchi. I know how they are constructed after hav
ing
the
oppo
rtun
ity
to w
ork
on
an e
xhib
it o
f No
guch
i work where I was able to assemble the lights for an installation.</p1>
<p2>
The
ligh
ting
des
igns by each of the three
designers had their own qualities such as color,
com
plex
ity.
All
thr
ee
arti
sts
crea
te l
ight
ing designs that are sculptural, have a sensory and emotional appeal, an
d a
conn
ecti
on t
o na
tura
l beau
ty a
nd l
ands
cape
. I initially wanted to synthesize bits of ideas from the three light de
sign
s.</
p2>
<p3>I had to think of a way to create the light without having electrical knowledge. I did research on solar lighting and
foun
d in
form
atio
n on
how to make your own solar lamps. It seemed achievable, so I searched m
any
ligh
t an
d ha
rdwa
re s
tore
s all
over
Los
Ang
eles
that had solar lights. I needed to test the lights out to find out which
one
s co
uld
easi
ly b
e ta
ken
apar
t an
d re
confi
gure
d. M
any
requ
ire
spec
ial
tool
s to
tak
e th
em a
part
, or
the
re w
as t
he s
tron
g po
ssib
ilit
y of
des
troy
ing
the
sola
r po
wer
part
s by trying to separate them from the plastic casing. There are several
bran
ds o
f so
lar
powe
red
gard
en
ligh
ts,
and
I ma
nage
d</p3>
<p4>
To fi
nd s
ome
that
were inexpensive enough t
o test out.<
/p4>
<p5>I then searched for materials to create a shade of some sort to go around the solar powered light unit. It had to
be i
n a
mate
rial
oth
er than what the original lighting design was made from. I tried metal m
esh
wire
and
met
al w
ire.
I
found the metal wire to be the easiest to work with to create a structure around the bulb. I also wanted to intertwine
air
plan
ts s
omeh
ow i
nto the design to mimic the complex designs that Tord Boontje and Bruce
Munr
o ha
ve i
n so
me o
f th
eir
crea
tion
s, t
houg
h th
e structure of the shade around the bulb is more simple sculptural idea
of t
he N
oguc
hi A
kari
lam
ps.
I have
mad
e la
mps
from
paper before, but using unfamiliar materials such as metal and solar po
were
d li
ght
part
s wa
s di
fficu
lt
and
chal
leng
ing.
Aft
er going through the trouble of gathering all the materials, testing and
try
ing
to c
reat
e th
e so
lar
powe
red
lamp
, I
felt
I really needed to rework this first lamp idea.</p5>
<p6>
Focu
sing
on
just
the Noguchi lamps was a m
uch better solution. Lauren’s comments in class
help
ed m
e to
thi
nk o
f th
e
ECO
/ 1
17
othe
r qu
alit
ies
in t
he lamp. Peaceful, calm, spiritual were some of the other words that cam
e up
. I
have
alw
ays
thou
ght
of t
he N
oguc
hi l
ight
s as playful characters when seeing the installation of all the Akari li
ghts
tog
ethe
r in
a r
oom.
The
ligh
ts a
re s
culp
ture
s, and the word Akari is means light as illumination, but also implying
the
idea
of
weig
htle
ssne
ss.
Thei
r sh
apes
mim
ic t
he sun or moon, and as described by Noguchi, Akari are “poetic, ephemera
l, a
nd t
enta
tive
.”</
p6>
<p7>
Afte
r th
inki
ng a
bout the lamps with the ne
w set of descriptive words, a second idea came t
o me
tha
t I
also
hav
e ne
ver
trie
d be
fore
. I
thou
ght try to create the lamps with light itself. I did not know how to do
‘lig
ht p
aint
ing’
or
long
exposure photography, but I thought I could try. I researched more on how to do this and recreated an installation of
My f
avor
ite
Nogu
chi
Akari lights made with light.<
/p7>
<p8>
http
://d
orno
b.co
m/diy-solar-lamp-make-your
-own-eco-friendly-sun-jars/ http://dornob.com/ho
t-so
lar-
diy-
make
-led
-lamp
s-fr
om-u
sed-
wate
r-bottles/ http://dornob.com/bottled-brilliance-diy-plastic-bulbs-for-ha
ngin
g-le
d-li
ghts
/ ht
tp:/
/www.
anyb
odyb
urns
.com
/pathlight/contents.htm http://www.ehow.com/how_5013084_make-solar-lamp.
html
htt
p://
part
sons
ale.
com/
lear
nwir
ing.
htm
http
://lifehacker.com/5314498/top-10-diy-projects-that-harness-the-power-of-
the-
sun</
p8>
<MET
A NA
ME=“
Trac
ey”>
/*PA
GE 9
0-91
*/
<h12
>LIG
HTBU
LBS
MADE
OF PAPER ELIMINATING PACKAGING<
/h12>
<p1>
Desi
gner
Tie
n-Ho
Hsu has come up with a co
ncept idea to reduce the amount of waste created
by
ligh
tbul
bs a
nd t
heir
pack
agin
g. T
he s
olut
ion, as this design presents, is emulsion-covered paper that glows when
hook
ed u
p to
an
elec
tric
ity
sour
ce.
The
pack
agin
g then becomes the product, and is able to be completely recycled once i
t is
no
long
er a
ble
to b
e used
. Wh
ich
is g
reat
.</p1>
<p2>
I ha
ve t
o sa
y th
at the idea is compelling
as a concept but it brings up some questions. Pa
per
ligh
t bu
lbs?
I’m
not
sure
how
tha
t wo
uld
work out…I don’t think that would be very safe. And I’m not sure how the
mat
eria
ls c
ould
cre
ate
ligh
t brig
ht e
noug
h to
rep
lace the standard 60 watt light bulbs we use right now. We already have
eco
-fri
endl
y li
ghtb
ulbs
crea
ted
to c
onse
rve
energy so I think that the concept behind these ones are focused more on
eli
mina
ting
pac
kagi
ng a
s th
e exce
ss w
aste
, ra
ther
than energy. Which I can absolutely appreciate.
</p2>
<MET
A NA
ME=“
Rach
el”>
/*PA
GE 9
2-93
*/
<h13
>NIK
E BE
TTER
WOR
LD</h13>
<p1>
PERF
ORMA
NCE
+ IN
NOVATION + SUSTAINABILITY<
/p1>
<p2>For Nike, the first step toward “closed loop” manufacturing is the Considered Index. To create the Index, we measured
our
envi
ronm
enta
l fo
otpr
int
acro
ss a
ll p
roce
sses
– f
rom
prod
uct
brie
f th
roug
h fin
al p
rodu
ctio
n –
and
iden
tifie
d th
e ar
eas
wher
e ch
ange
s wo
uld
most greatly impact our overall environmental footprint: Materials, Wast
e, S
olve
nt U
se a
nd
Inno
vati
on.<
/p2>
<p3>During the product creation process, the Considered Index gives feedback on the predicted environmental impact across
the four areas – Materials, Waste, Solvent Use, Innovation – helping designers make informed decisions on how to reduce
envi
ronm
enta
l im
pact
while improving performance.<
/p3>
<p4>Before you can eliminate something, you first must identify it. At Nike, waste is any product or material used in the
supply chain that does not ultimately end up in somebody’s closet. Considered Design seeks ways to prevent the initial
crea
tion
of
wast
e, a
nd where unavoidable, finds ways to recycle and reuses.
</p4>
<p5>
http
://w
ww.n
ikeb
etterworld.com/<
/p5>
<MET
A NA
ME=“
Sari
n”>
/*PA
GE 9
4-95
*/
<h13
>RED
ESIG
NED
REUS
ED ABANDONED RAILWAYS<
/h13>
<p1>
The
High
line
is
a ra
ilwa
y th
at w
ent
thro
ugh
down
town
Man
hatt
an a
nd w
as a
band
oned
. It
was
use
d to
tra
nspo
rt g
oods
to
manu
fact
ures
and
fac
tories along the westside of the City. Meanwhile indigenous foliage took
roo
t ov
er t
he y
ears
on
the
highland and grew wildly. In 2009, it was turned into a public park providing a unique elevated view meandering through
the
city
wit
h th
e na
tural foliage still in place, providing a peaceful escape for New Yorker
s. T
he p
ark
is e
quip
ped
with
movable wooden lounge chairs secured on rails with an expansive view of the Hudson River, and a stream of water to wade
thro
ugh
on t
hose
hum
id east coast days. The design team of landscape architects James Corner
Fie
ld</
p1>
<p2>
Oper
atio
ns,
incl
uded Diller Scofidio + Renf
ro architects. The idea was modeled after the ht
tp:/
/www
.pro
mena
de-p
lant
ee.
org/
in F
ranc
e, w
hich
was also an abandoned service railway turned into a public park. Simila
r pr
ojec
ts i
nvol
ving
old
rail
way
yard
s co
nver
ting into public spaces: http://notacornfield.com/ Here in LA is another
unus
ed a
band
oned
was
te s
pace
that
has
tur
ned
into
a public park, that also has a tie to old railway tracks. http://www.se
attl
eart
muse
um.o
rg/v
isit
/osp/
In
Seat
tle,
the
Olympic Sculpture Park was also an unused space of railway tracks that
has
sinc
e tu
rned
int
o a
publ
ic
park
man
aged
by
the
Seattle Art Museum and displays its collection of sculptures by such art
ists
as
Loui
se B
ourg
eioi
s an
d Rich
ard
Sera
.</p
2>
<p3>
The
proj
ect
gain
ed the City’s support in 2
002. The High Line south of 30th Street was dona
ted
to t
he C
ity
by C
SX
Tran
spor
tati
on I
nc.
in 2005. The design team of landscape architects James Corner Field Oper
atio
ns,
with
arc
hite
cts
Dill
er
Scofi
dio
+ Re
nfro
, cr
eated the High Line’s public landscape with guidance from a diverse comm
unit
y of
Hig
h Li
ne s
uppo
rter
s.
Cons
truc
tion
on
the
park began in 2006. The first section, from Gansevoort Street to West 20t
h St
reet
, op
ened
Jun
e 9,
200
9.
The
seco
nd s
ecti
on,
from West 20th Street to West 30th Street, opened in spring, 2011.
</p3>
<MET
A NA
ME=“
Trac
y”>
/*PA
GE 9
6-97
*/
<h14
>UND
ERST
ANDI
NG O
THER SPECIES
</h14>
<p1>
Dolp
hins
are
so
intelligent and amazing, a
nd it was really interesting to hear Diana Reiss
, co
gnit
ive
psyc
holo
gist
, rese
arch
sci
enti
st a
nd author of The Dolphin in the Mirror: Exploring Dolphin Minds and Savi
ng D
olph
in L
ives
, sp
eak
ECO
/ 1
19
as p
art
of [
Alou
d],
a series of lectures put on by the Library foundation of Los Angeles. Dr
. Am
y Pa
rish
, a
biol
ogic
al
anth
ropo
logi
st,
prim
atologist and Darwinian feminist conducted the interview.</p1>
<p2>
They
bot
h ha
d fa
scinating stories about an
imal behavior and intelligence that really prove
s th
at t
he a
nima
ls t
hat
they
have
stu
died
, (d
olph
ins, chimps, whales) are ‘somebody’, that they have individual personali
ties
and
tho
ught
pro
cess
es.</
p2>
</p3>Among the fascinating stories about saving a lost whale that swam into a river instead of migrating to warmer
ocea
n wa
ters
, an
d vi
deos of dolphins recognizing themselves in mirrors, Reis talked about be
ginn
ing
to i
nter
acti
ons
with
dolphins where they were communicating with her through language or behavior they learned from her. She designed a
keyb
oard
of
sort
s th
at had symbols and sounds that when chosen by the dolphin, could get obj
ects
or
beha
vior
s it
wan
ted
from the humans. After a while the dolphins began making the same sounds associated with the keyboard symbols that
corr
espo
nded
wit
h th
e object like a ball, as they were playing with it. They made connection
s wi
th s
ymbo
ls,
soun
ds a
nd
obje
cts.
Isn
’t t
hat
learning a language? It sounds like semiotics.
</p3>
<p4>
Her
resp
ect
for
dolphin intelligence is ea
sily contagious, she is also passionate about st
oppi
ng t
he s
ense
less
kil
ling
of d
olph
ins
in a
reg
ion of Japan, and advocates against dolphin shows.
</p4>
<p5>
I th
ink
this
rel
ates to design, that a goo
d designer or thinker has to be able to have emp
athy
and
und
erst
andi
ng f
or
anot
her,
and
to
unde
rstand interaction and communication. Being able to design an interactio
n an
d in
terp
ret
cues
abo
ut t
he
inte
ract
ions
are
imp
ortant as well as being able break out of conventional modes of thinking
and
per
ceiv
ing.
The
lec
ture
seri
es h
as m
any
insp
iring interviews online.
</p5>
<MET
A NA
ME=“
Trac
y”>
/*PA
GE 9
8-99
*/
<h15
>USE
FUL
+ AG
REEA
BLE HOUSE<
/h15>
<p1>
Usef
ul +
Agr
eeab
le (U+A) is designed by Ne
il Denari; based in Vancouver, are one of the mo
st i
nfor
med
web-
tv b
ased
site
s th
at f
ocus
on
travel, leisure, and contemporary design. U+A and NMDA have joined force
s to
off
er p
rede
sign
ed h
ouse
s to a growing market of design conscious consumers who wish to have their houses as well designed as the products that
surround them in contemporary life. To begin the process, NMDA has designed a concept project based on verticality,
mini
mum
foot
prin
t, a
nd the aspiration to prefabricate major components of the house off-site
.</
p1>
<p2>The project is governed from the beginning by two major dimensions: 1) The 102” wide surface of the tractor trailer or
othe
r sm
alle
r tr
uck
and 2) 30’ ft, the maximum allowable height of most typical single famil
y (R
1 or
R2
zoni
ng)
site
s in
No
rth
Amer
ica
and
nomi
nall
y, i
n Ja
pan
as w
ell.
Fro
m th
ese
two
dime
nsio
ns c
omes
the
bas
ic c
ompo
nent
of
the
U+A
mini
-tow
er,
an 8’-0” wide x 30’-0” winglike wall panel. Eight panels are required to enclose the smallest version of the house, making
a ma
ximu
m ou
ter
dime
nsion of 16’ x 16’ x 30’.<
/p2>
<p3>The wall and floor panels, the fourteen parts that make up the basic house, are constructed from 12 ga aluminum formers
and stringers, laser cut from 10’ sheet material. The stringers are arranged at nominally 1’-0” centers with folded tabs
for riveted connections. The outer skin consists of three layers: 1) ¼” bendable plywood, 2) waterproof membrane, 3)
16ga
alu
minu
m sh
eet.
The inner layer is painted ¼” plywood with laser cut access holes for f
aste
ning
and
ele
ctri
cal
and
plum
bing
con
nect
ions
. Batt insulation fills the wall cavity. This system, somewhere between a
win
g an
d a
gene
ric
egg
crat
e grid, offers a lightweight, super rigid stressed skin panel. Floors shall be constructed similarly. The project is finished
with
a c
usto
m pa
int
scheme based on buyer input.
</p3>
<p4>
Arch
itec
ture
has
always been interesting a
nd inspiring to me because of my cousin. Ever si
nce
I wa
s a
youn
g gi
rl,
my
cous
in w
ould
sho
w me
various buildings that would blow my mind; one architect in particular,
Nei
l De
nari
. Hi
s wo
rk h
as
alwa
ys b
een
inte
rest
ing and one of the houses he designed which caught my attention the most
was
the
Use
ful
+ Ag
reea
ble
House. The concept of this house is to assemble major components of the house off-site and is also based on minimum
footprint. This house is interesting because it is contemporary and unlike any other house we see everyday, it is very
basic yet has a sophistication to it. What catches my attention the most is the exterior. While looking at the interior,
the
hous
e it
self
is
compact and everything is isolated on each floor. The house seems secreti
ve a
nd r
emin
ds m
e of
wha
t th
e insi
de o
f a
spac
e st
ation. It would be interesting to see more of this building other than V
anco
uver
.</
p4>
<MET
A NA
ME=“
Sari
n”>
ECO
/ 1
21
MO
RA
LITY
MO
RA
LITY
/ 1
23
WO
MA
N G
ETS
MA
STER
’S
IN IN
TERN
ET M
EMES
: RA
D O
R R
IDIC
ULO
US?
POST
ED B
Y RA
CH
EL
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/21/
wom
an-g
ets-m
aste
rs-in
-inte
rnet
-mem
es-ra
d-or
-ridi
culo
us/
MO
RA
LITY
/ 1
25
A D
IFFE
REN
T K
IND
OF
AN
IMA
L A
TTR
ACTI
ON
AT
LOS
AN
GEL
ES Z
OO
POST
ED B
Y PA
TRIC
K
http
://g
radw
ow.w
ordp
ress
.com
/201
1/10
/19/
a-di
ffere
nt-k
ind-
of-a
nim
al-a
ttrac
tion-
at-lo
s-ang
eles
-zoo
/
MO
RA
LITY
/ 1
27
IMA
GIN
ATI
ON
:CR
EATI
NG
TH
E FU
TUR
E TO
DAY
POST
ED B
Y TR
AC
Y
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/14/
imag
inat
ion-
crea
ting-
the-
futu
re-to
day/
MO
RA
LITY
/ 1
29
DES
IGN
AS
GRA
FFIT
IPO
STED
BY
PATR
ICK
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/20/
desig
n-as
-gra
ffiti/
MO
RA
LITY
/ 1
31
THE
FEM
ININ
E SI
DE
OF
GR
AFF
ITI
POST
ED B
Y TR
AC
Y
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/28/
the-
fem
inin
e-sid
e-of
-gra
fitti/
MO
RA
LITY
/ 1
33
MR
. B
RA
INW
ASH
IN
VIT
ES Y
OU
TO
PA
RTI
CIP
ATE
IN
HIS
LA
TEST
EX
HIB
IT/P
AR
TY,
AR
T SH
OW
20
11
POST
ED B
Y RA
CH
EL
http
://g
radw
ow.w
ordp
ress
.com
/201
1/10
/19/
mr-b
rain
was
h-in
vite
s-you
-to-p
artic
ipat
e-in
-his-
late
st-ex
hibi
tpar
ty-a
rt-sh
ow-2
011/
MO
RA
LITY
/ 1
35
SIM
PLE
TR
UTH
SPO
STED
BY
MIK
EY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/28/
simpl
e-tru
ths/
MO
RA
LITY
/ 1
37
TED
PR
IZE
WIN
NER
POST
ED B
Y TR
AC
Y
http
://g
radw
ow.w
ordp
ress
.com
/201
1/10
/05/
ted-
priz
e-w
inne
r/
MO
RA
LITY
/ 1
39
WO
MEN
AR
E R
EJEC
TIN
GM
AR
RIA
GE
IN A
SIA
POST
ED B
Y TR
AC
Y
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/07/
wom
en-a
re-re
ject
ing-
mar
riage
-in-a
sia/
MO
RA
LITY
/ 1
41
WO
RK
FR
OM
TO
BIA
S Z
IELO
NY
POST
ED B
Y D
AVIS
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/14/
wor
k-fro
m-to
bias
-zie
lony
/
MO
RA
LITY
/ 1
43
MO
NA
PIZ
ZA
POST
ED B
Y JO
EY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/14/
wor
k-fro
m-to
bias
-zie
lony
/
WO
W
MO
RA
LITY
/ 1
45
OV
ERD
UE(
CA
TALO
G)
POST
ED B
Y M
IKEY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/11
/19/
over
due-
cata
log/
WO
W
MO
RA
LITY
/ 1
47
TRU
ISM
SPO
STED
BY
RAC
HEL
AN
D M
IKEY
http
://g
radw
ow.w
ordp
ress
.com
WO
W
MO
RA
LITY
/ 1
49
HO
NES
TY D
OLL
AR
POST
ED B
Y SA
RIN
, JO
EY, A
ND
DAV
IS
http
://g
radw
ow.w
ordp
ress
.com
/201
1/12
/01/
scre
en-sh
ot-2
011-
11-2
9-at
-1-0
8-01
-pm
-cop
y/
WO
W
MO
RA
LITY
/ 1
51
/*PA
GE 1
24-1
25*/
<h1>
WOMA
N GE
TS M
ASTE
R’S IN INTERNET MEMES: RAD
OR RIDICULOUS?<
/h1>
<p1>
I fo
und
this
art
icle on a woman who is pur
suing her Masters degree in Internet Memes…I can
onl
y th
ink…
.”Wh
y di
dn’t
I th
ink
of t
hat
first
?” However, what was actually more interesting to me than the article i
tsel
f wa
s th
e we
bsit
e “Sodahead”s (whose tag line reads: “Opinions…Everybody Has One.”) poll of the article as to whether it was Rad or
Ridi
culo
us a
nd t
he c
ommentary at the bottom of the page by the site’s readers.
</p1>
<p2>Here is the article for you to read: An internet meme is a video, phrase, or concept that spreads all over the
inte
rnet
, su
ch a
s “l
olcats,” “FTW,” or the “dancing baby.” They’re usually seen as the lowes
t fo
rm o
f cu
ltur
e —
but
academia, advertisers, and media folk have all started to seriously examine these memes. And they’re making a lot of money
doin
g it
. On
e of
the
se people is Kate Miltner, a 29-year-old digital strategist-turned-gradu
ate-
stud
ent
at t
he L
ondo
n School of Economics. She’s studying for her master’s degree in Internet Memes by using focus groups to figure out why
lolc
ats
are
so o
bnox
iously compelling.
</p2>
<p3>
A lo
lcat
is
an i
mage of a cat with an amus
ing or odd caption. Gawker.com is reporting that
Mil
tner
has
jus
t ha
nded
in
her
diss
erta
tion
to
receive a Master of Science (MSc) from the university’s Department of Me
dia
and
Comm
unic
atio
ns.
Her
stud
y fo
cuse
s on
the
se often trite, viral images, and films; specifically, her favorite funny
furr
y fe
line
s. I
f sh
e ma
kes
it
past
exa
mine
rs,
Milt
ner will be qualified to say “I can has master’s degree,” having complete
d an
aud
ienc
e st
udy
of l
olca
t user
s. S
orry
, we
had
to go there.<
/p3>
<p4>“People think ‘silly cat picture,’” Miltner said. But the idea that no one takes memes seriously is very outdated.
Memes make a lot of serious money to be taken very seriously. A good example of this is the Cheezburger empire, built on
the
aggr
egat
ing
lolc
ats and pictures of “Fail;” which spawned popular books and 30 million i
n st
art-
up m
oney
. He
ck,
4Cha
n foun
der,
Chr
isto
pher
Poole raised more than $3 million for his new start–up, Canvas, an imag
eboa
rd w
hich
let
s pe
ople
crea
te a
nd s
hare
dum
b memes more easily than ever before.<
/p4>
<p5>
The
capi
tali
zati
on of internet memes is ne
ver more apparent than in advertising, which ess
enti
ally
is
the
busi
ness
of making memes. Miltner, the meme master’s student, works in advertising and brags about her ability to “translate
brands needs into results-focused digital strategies” on her resume. There’s even a conference on memes, ROFLCON,
started by an ad guy, Tim Hwang, which helpfully assembles the most notable internet meme experts in one place for the
indu
stry
ins
ider
s, l
ooking for tips to make their campaigns go viral. So is meme culture rea
lly
that
muc
h of
a w
orth
whil
e inve
stme
nt?
Or i
s it
meant to stay the distraction that it is?
</p5>
<p6>
Visi
t th
e ar
ticl
e page to read the comment
s posted: http://www.sodahead.com/united-states/
woma
n-ge
ts-m
aste
rs-i
n-inte
rnet
-mem
es-r
ad-o
r-ridiculous/question-2169707/ What I found most interesting was that pe
ople
cho
se t
o co
mmen
t wi
th
meme
s to
say
how
rid
iculous it was…which I thought was funny. Here are the results of the po
ll:
if y
ou d
elve
fur
ther
into
the
res
ults
of
the poll they categorize the votes by demographic which I thought was pr
etty
int
eres
ting
: ha
t I
foun
d inte
rest
ing
was
that
the younger demographic, children and students were the people who were
all
for
the
int
erne
t me
me
Mast
er’s
Deg
ree
and
ever
yone
bet
ween
the
age
s of
55
– 64
rej
ecte
d th
e id
ea.
100
More
% o
f re
tire
d pe
rson
s th
at a
nswe
red
reje
cted
the
ide
a.
Females rejected the idea than males. 100% of Buddhists who answered we
re f
or t
he i
dea,
as
well
as
prog
ress
ive
and
libe
ral thinkers when it came to Politics. I feel like categories such as h
eigh
t an
d we
ight
and
smo
ker
or
drin
ker
have
no
dire
ct reflection or influence on the poll. All other categories presented ho
weve
r en
able
us
to g
et a
n in
de
pth
pers
pect
ive
of w
ho i
s us
ing
the
inte
rnet
, wh
at i
s ha
ppen
ing
on i
t, a
nd h
ow p
eopl
e re
spon
d to
it
base
d on
the
wor
ld
arou
nd t
hem.
Ac
tual
ly, just by voting in this poll, the participants have actually helped t
he M
aste
r’s
stud
ent
in h
er
MO
RA
LITY
/ 1
53
purs
uit…
</p6
>
<MET
A NA
ME=“
Rach
el”>
/*PA
GE 1
26-1
27*/
<h2>
A DI
FFER
ENT
KIND
OF ANIMAL ATTRACTION AT L
OS ANGELES ZOO
</h2>
<p1>People who love the Los Angeles Zoo get excited about any new animal — be it tiger cub, former circus elephant or
Komo
do d
rago
n ha
tchl
ing. So imagine the thrill of 66 new arrivals at one time, among them a
Chan
nel
Isla
nd f
ox,
a ba
by
rhin
ocer
os,
a li
ones
s, three racehorses and … a unicorn. All the animals, including the myth
ical
one
, ha
ve f
ound
a h
ome
in
the
zoo’
s ne
west
hab
itat — the Tom Mankiewicz Conservation Carousel, which will open to the
publ
ic O
ct.
27.
The
hope
is
that
the
col
orfu
l ne
w at
trac
tion
wil
l be
a b
ig d
raw
and
— at
$3
for
a th
ree-
minu
te r
ide
— ge
nera
te c
ash
for
the
zoo
for
year
s to
com
e.</
p1>
<p2>
“The
car
ouse
l is
a great way to create a j
oyous experience for families and also provide a
sou
rce
of m
uch-
need
ed
inco
me f
or t
he z
oo,”
said Connie Morgan, president of the Greater Los Angeles Zoo Assn., the
non
profi
t th
at r
aise
s mo
ney
for
zoo
prog
rams
.</p
2>
<p3>
It a
lso
has
an e
nvironmental message — whi
ch is one of a number of ways it will set itself
apa
rt f
rom
the
belo
ved
68-h
orse
Gri
ffith
Par
k Merry-Go-Round nearby.
The
new
caro
usel
’s m
ain focus is on endangered animals. So, while it does include a few hors
es a
nd a
hod
gepo
dge
of o
ther
fa
mili
ar c
reat
ures
, ki
ds a
lso
will
be
able
to
ride
on
a Su
matr
an t
iger
, a
moun
tain
tap
ir,
a si
lver
back
gor
illa
and
a
hone
ybee
. Wh
ile
they
are
rid
ing,
the
y wi
ll l
ook
out
at h
and-
pain
ted
deco
rati
ons,
cel
ebra
ting
all
man
ner
of C
alif
orni
a flora
and
fau
na.
And
they’ll be listening to music that is a far cry from the traditional wal
tzes
, ma
rche
s an
d po
lkas
. Th
e project’s major donors are Ann and Jerry Moss. Jerry Moss was the M in A&M Records, which he founded with Herb Alpert, the
A. M
oss
came
up
with
the
car
ouse
l’s
play
list
— w
hich
dra
ws f
rom
the
A&M
cata
log
— He
rb A
lper
t &
the
Tiju
ana
Bras
s, J
anet
Jack
son,
the
Car
pent
ers, the Police, Captain & Tennille, Cat Stevens and more.
</p3>
<p4>
Ann
Moss
add
ed h
er own touches — insisting
that all the animals’ faces be friendly and wel
comi
ng a
nd t
hat
any
prop
er
caro
usel
oug
ht t
o ha
ve a princess pony, pink and beribboned, “to celebrate the feminine.” It
was
her
ide
a, t
oo,
to i
nclu
de
a unicorn, which fit the theme, she said, since in these overloaded days, imagination is becoming endangered. “I just think
it’s so important to keep imagination alive because that’s how we get places, by dreaming things up first,” she said.
The Mosses, who own Thoroughbreds, had their racehorses Zenyatta, Giacomo and Tiago reproduced by the carousel’s maker,
Caro
usel
Wor
ks.<
/p4>
<p5>
The
Fort
Way
ne C
hildren’s Zoo in Indiana a
sked the company, based in Mansfield, Ohio, to cr
eate
the
firs
t co
nser
vati
on
carousel in 2004. A number of zoos across the country have followed suit. For the L.A. Zoo’s carousel, its artisans
hand-carved and hand-painted each animal and added unique decorative details, including a central mural that features
endangered animals from all over gathered in recognizably Californian landscapes. People from all over the world come to
Cali
forn
ia,
said
Mor
gan, so why not animals too?
</p5>
<p6>The project cost about $2.5 million, some of which is being raised by soliciting sponsors for each of the animals.
For
$25,
000,
don
ors
get their names on bronze plaques for 15 years as well as 25 free rides
a ye
ar.
Most
of
the
anim
als
have been sponsored, but some are still up for grabs. One is a skunk — which is, of course, the opposite of endangered,
especially here. It was included in the mix for fun, as a sort of private joke, because so many skunks make their home at
the
zoo,
hap
pily
liv
ing as freeloaders. The carousel is on a hill overlooking Elephants of A
sia
and
a re
ptil
e ar
ea c
alle
d Livi
ng A
mphi
bian
s, I
nvertebrates and Reptiles, or LAIR, which is scheduled to open early nex
t ye
ar.</
p6>
<p7>Mankiewicz, the carousel’s namesake, was one of the zoo’s most devoted champions. A screenwriter and script doctor,
he s
erve
d as
the
cha
irman of the zoo association’s board of trustees from 2002 until his dea
th f
rom
canc
er i
n 20
10.
It w
as
Mankiewicz, a close friend of the Mosses, who first suggested the carousel and asked the couple to help make it happen,
they
sai
d. “
Tom
had
a way, and we kind of got caught up in it,” said Jerry Moss. “We were so
tou
ched
by
him,
and
whe
n he
le
ft u
s, w
e ju
st t
houg
ht i
t wa
s th
e ri
ght
thin
g to
do
to n
ame
it a
fter
him
.” M
anki
ewic
z lo
ved
both
peo
ple
and
anim
als,
An
n Mo
ss s
aid.
She
sai
d sh
e ho
pes
the
caro
usel
wil
l he
lp v
isit
ors
feel
the
con
nect
ion
betw
een
all
of t
he w
orld
’s l
ivin
g bein
gs.
“I w
ant
them
to feel a kinship, that we are in it together,” she said.
</p7>
<p8>
I fo
und
this
in
todays paper and I thought
it was nice to see. I happen to be very interes
ted
in a
nima
ls,
and
I am
espe
cial
ly i
nter
este
d in their interaction with humans in the future. It seems as though mos
t an
imal
s, e
spec
iall
y la
rger
ones
are
goi
ng t
o be
extinct. This designed carousel is trying to counter that, spreading a
mes
sage
abo
ut e
ndan
gere
d anim
als
to a
you
nger
audience. I think zoos already carry enough baggage by enclosing animal
s wi
th u
sual
ter
rito
ry s
ever
al
mile
s in
cir
cumf
eren
ce to a mere couple hundred feet. Which might give the wrong impression
to y
oung
er c
hild
ren
as t
hey
visi
t th
e zo
o. B
ased
on
my e
xper
ienc
e, m
ost
of t
he p
eopl
e I
enco
unte
red
at t
he z
oo,
know
lit
tle
abou
t th
e an
imal
s an
d have
an
almo
st e
mbar
rassing recognition for them. This ride seems to be educating children o
n an
imal
s, a
nd w
hat
they
loo
k like
, bu
t al
so t
he o
nes they might never see. The ride paints a friendly picture of all the
anim
als
that
are
apa
rt o
f it
, but
pain
ts a
str
ong
mural, literally that expresses a time for awareness. I am glad to see o
ther
asp
ects
of
desi
gn b
eing
cons
ider
ed i
n un
usua
l places.<
/p8>
<MET
A NA
ME=“
Trac
y”>
/*PA
GE 1
28-1
29*/
<h3>
IMAG
INAT
ION:
CRE
ATING THE FUTURE TODAY
</h3
>
<p1>Creating the Future of Education and Work wants to help educators foster creativity and conceptual thinking in
scho
ols.
The
fou
nder
s, Rita J. King and Joshua Fouts, created creatingthefuturetoday.com as
a re
sour
ce f
or t
each
ers
and
parents with ideas that help foster imagination and teach kids to collaborate while problem solving. (via GOOD /
@archiculture) http://creatingthefuturetoday.com/ Our journey to LITE began in an Internet browser-based virtual
envi
ronm
ent
call
ed M
etaplace. Simple to access, filled with small, innocuous avatars in an en
viro
nmen
t mo
re e
voca
tive
of
Donk
ey K
ong
than
Gra
nd Theft Auto, Metaplace seemed ideal at first glance for educational pur
pose
s.</
p1>
<p2>
It w
as M
etap
lace
that we first met Joe Cast
ille, the executive producer of a technology edu
cati
on g
roup
cal
led
3D
Squa
red,
ami
d a
squa
re of landscaped green space. 3D Squared is a non-profit dedicated to “wo
rkfo
rce
deve
lopm
ent
for
the
game
and
dig
ital
med
ia industry” lead by Spencer Zuzolo an academic and game developer from
Aust
in,
Texa
s, w
ho t
each
es
game
des
ign.
Vid
eo:
Spencer Zuzolo describes his theory of learning through making games. We
met
in
Meta
plac
e wi
th
Cast
ille
and
Zuz
olo
in an environment created collaboratively with students that included a
geod
esic
dom
e, o
ffice
fur
nitu
re
and
a pa
rk.
The
plac
e was abuzz with tiny, busy avatars, many of whom were interns and stude
nts
part
icip
atin
g in
3D
Squa
red
and
invo
lved
with its parallel venture, GameCamp.<
/p2>
MO
RA
LITY
/ 1
55
<p3>
“I’m
imm
ense
ly c
once
rned
abo
ut t
he t
rans
form
atio
n in
the
eco
nomy
and
how
to
prep
are
tomo
rrow
’s w
orkf
orce
to
adap
t to
it,”
Zuz
olo
told
us
when we first met in Metaplace. “How do you engage the students and conne
ct t
hem
to p
aren
ts,
teac
hers
and
stud
ents
? Pa
rt o
f it is language.” That language, he believes, lies partly in the cultur
e of
gam
es.
The
idea
of
game
s in education is often narrowly interpreted through the prism of a specific game such as World of Warcraft, which, because
it builds strong guilds and demonstrates the power of play in groups, is an easy target for such assertions. Massively
mult
ipla
yer
onli
ne g
ames are one type of game, and the skills built within them can have gre
at i
mpac
t, b
ut t
his
proj
ect
inte
rpre
ts “
game
s” f
ar more broadly to encompass systems deliberately engineered for maximum
par
tici
pati
on.
Vide
o: S
penc
er
Zuzo
lo d
escr
ibes
mis
-perceptions about learning models for kids.
</p3>
<p4>In Louisiana, 3D Squared’s young participants aimed to create games that could translate into real social and
econ
omic
val
ue.
“We
have the largest outmigration of any state in the nation,” Castille expl
aine
d of
Lou
isia
na.
“100
,000
skil
led
labo
r jo
bs a
re unfilled. We’re using Metaplace as the first rung of the skill ladder f
or t
each
ing
virt
ual
worl
d deve
lopm
ent.
” Ca
stil
le and Zuzolo believe that the reform of education and the future of wor
k ar
e in
tert
wine
d, a
nd b
eing
perc
eive
d as
suc
h wi
ll allow for the creation of an interactive collaborative atmosphere wit
h im
medi
ate
feed
back
and
deve
lopm
ent.
In
this
environment, the role of the individual is important, with each person
cont
ribu
ting
val
uabl
y to
the
proc
ess.
The
gro
up’s
mission remains the sole focus. The purpose is served, and everybody wi
ns.
3D S
quar
ed’s
pro
ject
was
fund
ed b
y a
$750
,000
grant from the Louisiana Department of Development.
</p4>
<p5>
What
did
the
gra
nt cover? Thought-leadersh
ip: The Digital Technologies and Creative Proces
ses
Init
iati
ve i
nclu
ded
a stat
ewid
e as
sess
ment
of Louisiana’s needs and resources, development of curriculum criteria
and
stan
dard
s, p
ilot
pro
gram
s,
stakeholder education, and creation of a digital media laboratory. Action: The project would culminate in a Digital
Work
forc
e In
itia
tive
during which students from different schools would work in teams to dev
elop
vir
tual
wor
ld p
roto
type
s of g
ames
and
sim
ulat
ions addressing core social problems during a week-long event at LITE.
</p5
>
<p6>
Inta
ngib
le b
enefi
ts: Students gaining rapid
mastery over complex subject matter after condu
ctin
g th
eir
own
rese
arch
and
coll
abor
atin
g on
cri
tical thought, design and project development. Students gaining public s
peak
ing
abil
ity
and
confi
denc
e in a professional, competitive and team-oriented environment in which the individual is a valued contributor. Zuzolo and
Cast
ille
ext
ende
d an
invitation for us to visit Lafayette, Louisiana, and participate in the
Dig
ital
Wor
kfor
ce I
niti
ativ
e.
The
even
t wo
uld
also
serve as an opportunity for 3D Squared to explain their work to communi
ty a
nd p
olit
ical
lea
ders
. Wh
en
we fi
rst
arri
ved,
eve
nt participants were divided into groups to choose from among a roster o
f th
emes
ran
ging
fro
m po
lice
brut
alit
y an
d ob
esit
y to environmental crises and unemployment.<
/p6>
<p7>
Each
tea
m wo
uld
collaborate on the design
of a virtual game with real world benefit, bolste
red
by r
esea
rch
into
the
topi
c an
d sh
arin
g kn
owledge and ideas. When the students needed a break, they could share th
eir
terr
or a
bout
pub
lic
speaking with their group leaders or play Rock Band in a recreation room at the end of the hall. The public speaking
woul
d be
nec
essa
ry a
t the end of the week when game designers would be flown in to critique t
heir
wor
k in
fro
nt o
f a
live
audience of parents, educators, facilitators, journalists, policymakers and peers. The live event at the end of the week
stil
l se
emed
a l
ong
way off. The participants had barely chosen their topics and hadn’t yet
deci
ded
who
amon
g th
em w
ould
fill
the
role
s of
pro
ducer, director, designer, researcher and writer.</p7>
<p8>
By t
he e
nd o
f th
e first day, their games st
arted to shape up. Each team was focused on a di
ffer
ent
soci
al i
ssue
incl
udin
g ob
esit
y, u
nemployment, environmental issues in the Gulf Coast and police brutality
. Se
vera
l ti
mes
we h
eard
peop
le s
ay t
hat
if n
ot for Mississippi, Louisiana would rate dead last in almost any categor
y re
late
d to
hea
lth,
edu
cati
on
and
the
loca
l ec
onom
y. In the hallways of LITE, team members practiced public speaking as th
ey w
orke
d on
the
ir M
etap
lace
environments. They ate together, laughed at their mistakes, congratulated each other for amazing feats of creativity and
work
ed t
heir
pro
blem
s out in tandem. The participants, accustomed to studying alone, taking
test
s al
one
and
fail
ing
or
pass
ing
in i
sola
tion
, had never experienced anything like it. Excitement and nerves crackled
in
the
air
at L
ITE
as f
utur
e work
ers
bega
n to
shi
ft from a paradigm of solitary competition to one of collaborative creat
ivit
y.</
p8>
<MET
A NA
ME=“
Patr
ick”
>
/*PA
GE 1
30-1
31*/
<h5>
ON A
DIV
ISIV
E DA
M, A SNIPPY BIT OF GRAFFIT
I</h5>
<p1>An anonymous band of artists paints a huge pair of scissors and a long dotted line on obsolete Matilija Dam near Ojai.
The
mess
age?
Tea
r th
e thing down already. If life imitated art, it would be a simple matter
to f
ollo
w th
e do
tted
lin
e an
d sn
ip a
200
-foo
t da
m ne
ar O
jai
off
the
face
of
the
eart
h. F
or y
ears
, an
all
ianc
e of
env
iron
ment
alis
ts,
fishe
rmen
, su
rfer
s and officials from every level of government has called for demolishing the obsolete structure. Now, an anonymous band of
artists has weighed in, apparently rappelling down the dam’s face to paint a huge pair of scissors and a long dotted line.
The carefully planned work popped up last week and is, no doubt, Ventura County’s most environmentally correct graffiti
by a
dam
sit
e. ”
Ever
yone I’ve talked to has really enjoyed it,” said Jeff Pratt, Ventura Cou
nty’
s pu
blic
wor
ks d
irec
tor.
“It
send
s a
good
mes
sage.” That message? Tear the thing down already. Matilija Dam was built
in
1947
for
floo
d co
ntro
l and
wate
r st
orag
e. B
ut officials say it was flawed from the outset. For decades, it’s been hol
ding
bac
k si
lt a
s mu
ch a
s wate
r, d
epri
ving
bea
ches 17 miles downstream of the sand they need to replenish themselves.
It’s
als
o be
en d
eeme
d a
huge
ob
stac
le for steelhead trout, an endangered species that was once a trophy fish luring anglers from across the country. Officials say
they
don
’t k
now
who
painted the shears, and they’re careful to note that such acts — even in
the
nam
e of
art
— a
re i
lleg
al
and
dang
erou
s. T
he d
am is challenging enough that rescue squads use it for climbing practice
, po
undi
ng i
n me
tal
anch
ors
that
may
hav
e ai
ded
the
scis
sors
han
ds.
But
even
if
the
pain
ting
is
no m
ore
lega
l th
an g
arde
n-va
riet
y gr
affit
i, s
ome
say
it s
peak
s to
the
tak
edown’s glacial pace. ”We’ve studied this to death and talked about it f
orev
er,”
sai
d Pa
ul J
enki
n of
the
Mati
lija
Coa
liti
on, an alliance of community groups pushing for the dam’s removal. “Ther
e’s
very
str
ong
supp
ort
from
the
comm
unit
y, a
nd t
hat’s part of what we’re seeing with the graffiti.” Coincidentally, envir
onme
ntal
ists
, co
unty
offi
cial
s,
the
Army
Cor
ps o
f En
gineers and others concerned about Matilija met on Wednesday — the morni
ng a
sto
ry a
bout
the
mys
tery
shears appeared on the front page of the Ventura County Star. The group is facing obstacles comparable to those of the
stee
lhea
d tr
out:
Six
million cubic yards of silt, an earthquake fault, and costs estimated a
t mo
re t
han
$140
mil
lion
. In
be
tter
tim
es,
fede
ral
fund
ing
seem
ed c
lose
at
hand
— b
ut n
ow,
not
so m
uch.
The
cur
rent
pla
n is
amb
itio
us e
noug
h: T
ake
pres
sure
off
the
agi
ng structure by chopping 20 feet off the top and allowing more sediment
to w
ash
down
stre
am.
Mean
whil
e,
the
artw
ork
will
sta
y in place. ”It’s certainly raised awareness,” Pratt said.
</p1>
<p2>
I fo
und
this
art
icle particularly intrigui
ng because it is piece of graffiti that is more l
ike
a pi
ece
of d
esig
n. T
hese
“des
igne
rs”
have
suc
cessful put a piece up in an area that would be hard to remove it. This
spea
ks o
f di
ffer
ent
issu
es
conc
erni
ng m
oral
s an
d ae
sthe
tics
. Is
it
righ
t to
pla
ce a
pie
ce o
f gr
affit
i an
ywhe
re?
Is t
he i
dea
of m
akin
g so
meth
ing
that
is s
o be
auti
ful
that
it stays up the direction graffiti and street art should move toward? I
alwa
ys t
houg
h th
at m
akin
g a
piec
e an
d pu
ttin
g it
up
woul
d be
int
eres
ting
if
it w
as n
ot t
aken
dow
n. r
athe
r it
enh
ance
d th
e ar
ea i
t wa
s in
and
spr
ead
a me
ssag
e to
the
mas
s media. What would it take to make a piece and put it up, so it is not
take
n do
wn?
I th
ink
thes
e ques
tion
s ar
e an
swer
ed by the “designers” who created this graphic. Which gives rise to the
idea
tha
t mo
re o
f th
is k
ind
of
“art
” co
uld
be o
n th
e horizon?
</p2>
MO
RA
LITY
/ 1
57
<MET
A NA
ME=“
Patr
ick”
>
/*PA
GE 1
32-1
33*/
<h6>
THE
FEMI
NINE
SID
E OF GRAFFITI<
/h6>
<p1>
I ha
ve s
een
thin
gs like this around the
city, but did not know there was a name for it.
“Yar
n bo
mbin
g.”
It i
s desc
ribe
d in
the
New
York Times as the feminine side of graffiti, a matronly, old-lady act to w
rap
some
thin
g in
a k
nitt
ed
piec
e to
kee
p it
war
m. It is a colorful addition to the environment. Supposedly a woman named
Magd
a Sa
yeg
from
Tex
as
star
ted
it.
Anot
her
woman named Olek does not see her knitted installations aw public art, not
as
yarn
bom
bing
, wh
ich
she
cons
ider
s to
be
the
work of amateurs. Here is a video of how she covered the Wall Street Bul
l.</
p1>
<p2>
I am
not
a k
nitt
er, but I think it is gr
eat that these women are doing this. I agree ‘str
eet
art’
is
domi
nate
d by
male
s, e
spec
iall
y no
ted when I saw the “Street Art” show at MOCA this summer. It is so refresh
ing
to s
ee w
omen
doi
ng
this
in
thei
r ow
n wa
y. There needs to be more women doing things like this, perhaps in a compl
etel
y un
rela
ted
form
at,
not
as a
n ‘a
nswe
r’ o
r re
sponse to the male-dominated street art that is so pervasive in contempora
ry c
ultu
re,
but
some
thin
g inde
pend
ent
of i
t</p
2>.
<MET
A NA
ME=“
Trac
y”>
/*PA
GE 1
34-1
35*/
<h7>
MR.
BRAI
NWAS
H IN
VITES YOU TO PARTICIPATE
IN HIS LATEST EXHIBIT/PARTY, ‘ART SHOW 2011′</h7
>
<p1>I participated in this art show last Sunday. I thought it would be really interesting to share my experience. As
if t
raffi
c al
ong
the
La Brea corridor isn’t already bad enough, L.A.’s beloved street artist Mr
. Br
ainw
ash
– wh
o fir
st
got
atte
ntio
n th
roug
h our cover story and later through the documentary Exit Through the Gift
Shop
– i
s st
agin
g an
othe
r spec
tacu
lar
and
he n
eeds your help. The man partially responsible for the death of street art
as w
e kn
ow i
t (i
s th
at a
bad
thin
g?)
want
s to
put you, yes you, in his next show.
</p1>
<p2>
”Art
Sho
w 20
11″
is officially scheduled t
o open in the next few weeks. But before that, Bra
inwa
sh i
nvit
es y
ou t
o th
e curr
entl
y ve
ry e
mpty
but beautiful 80,000 square foot space at 1269 N. La Brea (near the West
Holl
ywoo
d Ta
rget
) wh
ere,
for
3 days, starting Sunday, Oct. 9, you can hang your work in 20,000 of it. Its an open invite to the community at large, so
if y
ou e
ver
want
ed t
o get your art on, now’s the time. No negativity or nudity is allowed. The
inv
ite
has
gone
glo
bal,
so
expe
ct s
ome
out-
of-t
owners to make an appearance as well as a few members of the Seventh Lette
r cr
ew a
ddin
g th
eir
touc
h (the
y ge
t th
e st
airw
ells).
</p2>
<p3>
The
open
inv
itat
ion echoes the recent “C
hain Letter” exhibit at Shoshana Wayne Gallery, in
whi
ch c
urat
ors
emai
led
an
invi
tati
on t
o ar
tist
s to show their work, and those artists then passed the same invite along
to f
ello
w ar
tist
s, a
nd s
o on, until eventually 1,600 artists showed up, artwork in hand. None of the donated work will be for sale, and you won’t
get
it b
ack,
as
it w
ill be destroyed with the building once Thierry vacates. But of course, he
’s fi
lmin
g it
, so
who
’s t
o
say
Bank
sy’s
not
thi
nking about a Gift Shop sequel? 80,000 square feet. Can he fill it? “I do
n’t
acce
pt i
mpos
sibl
e,”
says
Guet
ta o
n a
rece
nt v
isit. “I see art everywhere!”<
/p3>
<p4>My Experience: Basically I had no idea what I was going to make for the show, my friend had printed some of her
photographs and so I just grabbed a box of art supplies left over from the summer and we went. We get downtown and we just
see this abandoned building. We’re like where is this place? Then we see graffiti shining through the windows of this place
and
hear
mus
ic b
last
ing and we’re like…ok that’s it. So we get in. We have to fill out a waiv
er c
ause
I g
uess
the
y ar
e filming saying that we acknowledge what we’re doing here blah blah blah…we get in and there literally is ART EVERYWHERE.
It is so cool. There are just guys walking around with a stencil in one hand and a can in the other spraying their piece
anywhere they can find a cool spot. Some other people have actually set up specific spots for specific pieces. It’s just
basi
call
y a
free
for
all. You choose a spot and then GO. So we go towards the back and set u
p ou
t pi
eces
. My
fri
end
hang
s her
phot
os o
n th
e wa
lls…there are just buckets of that street art adhesive and brushes ready
for
any
one’
s us
e. E
very
one
is really friendly. I attack an already posted column and create a collage out of old magazines. It was great. Then
we just took like 20 minutes and walked around to see everything. I noticed there had been just like random household
obje
cts
like
Ref
rige
rators and Cabinets placed randomly throughout the space to create some
dept
h. T
here
was
no
spot
lef
t unto
uche
d by
som
e po
sting or spray paint can. It was so amazing to see all the different typ
es o
f ar
t co
me t
oget
her
and
see the different messages on top of each other. And we got to meet Mr. Brainwash! He was just walking around, with a
film
crew
in
tow,
and
was checking the progress of the exhibit. He was so nice. Overall it wa
s a
real
ly c
ool
expe
rien
ce…n
o matt
er w
hat
the
unde
rlying intentions are.
</p4
>
<MET
A NA
ME=“
Rach
el”>
/*PA
GE 1
36-1
37*/
<h8>
SIMP
LE T
RUTH
S</h
8>
<p1>
Alex
Nor
iega
illu
stra
tor
from
Bar
celona
</p1>
<MET
A NA
ME=“
Mike
y”>
/*PA
GE 1
38-1
39*/
<h9>
TED
priz
e wi
nner
</h9>
<p1>
I th
ough
t th
is v
ideo was interesting for s
treet artist JR. who recently won the TED prize
whic
h is
giv
en e
very
yea
r to
those who are leaders in humanitarian efforts. It all started with portraits of his friends in Paris who were rough street
gang
ster
s, a
nd h
e be
gan to blanket the streets of the most bourgeois neighborhood of Paris w
ith
them
. Th
en i
t gr
adua
ted
to
port
rait
s of
Isr
aels
and Palestinians, pasting images on both sides of the walls. He went on
to
do p
ortr
aits
of
peop
le i
n th
e po
ores
t fa
vela
s of
Bra
zil,
and
Ken
ya a
nd b
eyon
d. I
did
n’t
know
he
was
part
of
the
“Str
eet
Art”
sho
w at
MOC
A re
cent
ly,
and
did
a pr
ojec
t ca
lled “Wrinkles of the City“ in Los Angeles.<
/p1>
<p2>
28 M
illi
metr
es :
Women Are Heroes in Kiber
a Slum - Kenya. January 2009. http://jr-art.net/
At fi
rst
I wa
s in
spir
ed t
o see someone just going out and creating art that serves a greater purpose and involves community. I look at the videos
again, and think the ones that have the most impact are the portraits strategically placed in areas of conflict. His
curr
ent
proj
ect
that
anyone can participate in and paste a portrait of themselves seems more
lik
e a
big
face
book
out
MO
RA
LITY
/ 1
59
on t
he s
tree
ts.
Last
week I posted “Yarn Bombing” and admired women going out and doing humo
rous
fun
art
in
the
stre
et.
I ad
mire
peo
ple
who
have the nerve to go out and do things like this, I think art that serve
s an
d up
lift
s is
mor
e powe
rful
.</p
2>
<MET
A NA
ME=“
Trac
y”>
/*PA
GE 1
40-1
41*/
<h10
>WOM
EN A
RE R
EJEC
TING MARRIAGE IN ASIA<
/h10>
<p1>
When
I s
urve
y th
e co
nver
sati
ons
I ha
ve w
ith
frie
nds
abou
t ma
rria
ge,
I’ve
com
e to
not
ice
an o
vera
ll a
nd p
erso
nall
y intr
igui
ng a
ttit
ude
towards marriage–simply that it is not a priority nor all that necessary
any
more
. Be
ing
Asia
n mys
elf,
I found it surprising that this mentality many times aligned with that of my Asian friends, as well. Perhaps my surprise
was
fuel
ed b
y my
bel
ief
in t
he t
radi
tion
al f
amil
y va
lues
tha
t ha
ve a
lway
s su
stai
ned
Asia
n cu
ltur
e. M
y ob
serv
atio
ns w
ere
confi
rmed
and
exp
ande
d when I stumbled upon The Economist‘s article on the phenomenon of wome
n re
ject
ing
marr
iage
in
Asia
.
The article in its entirety is lengthy, although informative; the following is select paragraphs from its August 20, 2011
prin
t ed
itio
n:</
p1>
<p2>“A lot of Asians are not marrying later. They are not marrying at all. Almost a third of Japanese women in their
early 30s are unmarried; probably half of those will always be. Over one-fifth of Taiwanese women in their late 30s are
sing
le;
most
wil
l ne
ver marry. In some places, rates of non-marriage are especially striking
: in
Ban
gkok
, 20
% of
40-
44-
year
old
wom
en a
re n
ot married; in Tokyo, 21%; among university graduates of that age in Sin
gapo
re,
27%.
So
far,
the
tre
nd
has
not
affe
cted
Asi
a’s two giants, China and India. But it is likely to, as the economic fa
ctor
s th
at h
ave
driv
en i
t else
wher
e in
Asi
a sw
eep through those two countries as well; and its consequences will be ex
acer
bate
d by
the
sex
-sel
ecti
ve
abor
tion
pra
ctis
ed f
or a generation there. By 2050, there will be 60m more men of marriageab
le a
ge t
han
wome
n in
Chi
na a
nd
Indi
a.”<
/p2>
<p3>
“Wom
en a
re r
etre
ating from marriage as the
y go into the workplace. That’s partly because,
for
a wo
man,
bei
ng b
oth
empl
oyed
and
mar
ried
is tough in Asia. Women there are the primary caregivers for husbands,
chil
dren
and
, of
ten,
for
ageing parents; and even when in full-time employment, they are expected to continue to play this role. This is true
else
wher
e in
the
wor
ld, but the burden that Asian women carry is particularly heavy. Japanes
e wo
men,
who
typ
ical
ly w
ork
40 h
ours
a w
eek
in t
he office, then do, on average, another 30 hours of housework. Their husb
ands
, on
ave
rage
, do
thr
ee
hours. And Asian women who give up work to look after children find it hard to return when the offspring are grown. Not
surp
risi
ngly
, As
ian
women have an unusually pessimistic view of marriage. According to a sur
vey
carr
ied
out
this
yea
r,
many
few
er J
apan
ese
women felt positive about their marriage than did Japanese men, or Ameri
can
wome
n or
men
.</
p3>
</p12>At the same time as employment makes marriage tougher for women, it offers them an alternative. More women are
financially independent, so more of them can pursue a single life that may appeal more than the drudgery of a traditional
marriage. More education has also contributed to the decline of marriage, because Asian women with the most education
have
alw
ays
been
the
most reluctant to wed—and there are now many more highly educated women
.”</
p12>
<MET
A NA
ME=“
Trac
y”>
/*PA
GE 1
42-1
43*/
</h1
1>WO
RK F
ROM
TOBI
AS ZIELONY
</h11>
<p1>I was looking at Tobias Zielony’s work inside the internet. Here is some info that I found about Zielony: “In his
work, Tobias Zielony (born 1973, lives in Berlin) explores the life of teenagers and young people from marginal areas of
soci
ety.
How
ever
, hi
s primary interest lies less in documenting reality than in the way the yo
ungs
ters
pre
sent
the
msel
ves
as a
n ex
pres
sion
of
certain attitudes in youth culture. He examines issues of open and latent
viol
ence
and
phe
nome
na o
n the fringes of political and social life. Zielony photographed his work “Space” during a stay in Trona, a small, once
thri
ving
ind
ustr
ial
town on the edge of Death Valley in California. It has been characterised
by b
leak
hop
eles
snes
s an
d unemployment since its large chemical factory closed down. He photographed “Portage”, this second motif for the annual
limi
ted
edit
ions
, wh
ile making a film in Winnipeg, Canada, where teenagers gather every Sunday
even
ing
to g
o cr
uisi
ng i
n thei
r ca
rs.<
/p1>
<p2>
Tobi
as Z
ielo
ny i
s one of a new generatio
n of photographers who combine classic documenta
ry m
etho
ds w
ith
conc
eptu
al
pres
enta
tion
. He
stu
died in Timm Rautert’s Master Class at the Academy of Visual Arts in Leipz
ig.
He h
as b
een
Prof
esso
r for
Art
Phot
ogra
phy
at the Academy of Media Arts in Cologne since October 2009.”
</p2>
<MET
A NA
ME=“
Davi
s”>
/*PA
GE 1
48-1
49*/
<h12
>Bro
adca
stin
g Je
nny Holzer: Truisms<
/h12
>
<p1>
Her
medi
um a
lway
s is writing: T-shirt, p
laque, LED sign<
/p1>
<p2>
Publ
ic d
imen
sion
is integral to the deli
very of her work
</p2>
<p3>
Prac
tice
riv
als
ignorance and violence w
ith humor, kindness and moral courage</p3>
<p4>
Jenn
y Ho
lzer
on
her Truisms:
</p4>
<p5>
“I’m
try
ing
to m
ake people at the very l
east skeptical and willing to wonder what you sh
ould
do
when
you
’re
conf
ront
ed
with
sta
teme
nts
like
this.”<
/p5>
<p6>“To make you consider the subjects but also consider what it means when someone is flinging these statements at
you.”</p6>
<p7>
“To
sugg
est
that
the thoughts were true
to somebody.”<
/p7>
<p8>
“Hun
dred
s of
sen
tences, all of which, ar
e true to someone, but then how do you manage al
l of
the
se d
iffe
rent
confl
icti
ng o
pini
ons.
”</p8>
<p9>
Our
Idea
: Th
e ch
oice to use the liquor s
tore bag was because it had no text and that you
loo
k fo
r tr
uth
in a
bot
tle
some
time
s.
We t
yped
up
the
trui
sms
on s
trip
s of
pap
er a
lmos
t li
ke f
ortu
nes
and
put
them
in
the
bags
so
they
had
the
choi
ce t
o ch
oose
the
ir own from the bag. But we also wanted them not only to read them off th
e pa
per
but
we w
ante
d th
em
to s
ay t
hem
out
loud
and spread the words through the megaphone amongst the crowd of people.
Our
goal
was
to
try
to g
et
MO
RA
LITY
/ 1
61
the
peop
le t
o ke
ep t
heir truism and pass it on, or do whatever they wanted with it.</p9>
<p10
>Thi
s wa
s on
e ap
proach. Another approach was reading them out through the megaphone ourse
lves
in
larg
e gr
oups
of
peop
le.<
/p10
>
<p11
>Str
engt
hs:
We f
ound that people really responded to the truisms they pulled out, if they
agre
ed t
o it
, th
ey r
eall
y got
exci
ted
and
expa
nded on it, got all philosophical or just appreciated the statement as the
tru
th.</
p11>
<p12
>Usi
ng t
he m
egap
hone gained a lot of attention and we were heard by lots of people around
us.</
p12>
<p13
>Wea
knes
ses:
We
found that people were hesitant to draw a truism from the bag. A clearer
bag
migh
t ha
ve h
elpe
d ma
ke
the
expe
rien
ce n
ot a
s “scary” for people to reach into a paper bag that they couldn’t see what
was
in
it.</
p13>
<p14
>We
also
had
a h
ard time getting people to try and keep their truism, they always just wan
ted
to p
ut i
t ba
ck i
n th
e bag.
</p1
4>
<MET
A NA
ME=“
Rach
el a
nd Mikey”>
INSP
IRA
TIO
N
INSP
IRA
TIO
N /
16
3
3D
DR
AW
ING
MA
CH
INE
POST
ED B
Y PA
TRIC
K
http
://g
radw
ow.fi
les.
wor
dpre
ss.c
om/2
011/
09/0
6-vi
sion.
jpg
INSP
IRA
TIO
N /
16
5
A “
TYPEW
RIT
ER”
THA
TM
IXES
CO
CK
TAIL
S A
TTH
E PU
SH O
F K
EYS
POST
ED B
Y JO
EY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/29/
a-ty
pew
riter
-that
-mix
es-c
ockt
ails-
at-th
e-pu
sh-o
f-key
s/
INSP
IRA
TIO
N /
16
7
CO
LOR
PER
CEP
TIO
NPO
STED
BY
TRA
CEY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/14/
colo
r-per
cept
ion/
INSP
IRA
TIO
N /
16
9
CO
MPR
ESSE
D 0
2B
Y K
IM P
IMM
ELPO
STED
BY
JOEY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/14/
com
pres
sed-
02-b
y-ki
m-p
imm
el/
INSP
IRA
TIO
N /
17
1
DES
IGN
IS/
AS
HU
MO
R
BY
KEE
NA
N C
UM
MIN
GS
POST
ED B
Y D
AVIS
http
://g
radw
ow.w
ordp
ress
.com
/201
1/10
/19/
desig
n-isa
s-hum
or-b
y-ke
enan
-cum
min
gs/
INSP
IRA
TIO
N /
17
3
JEN
STA
RK
POST
ED B
Y JO
EY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/28/
jen-
stark
/
INSP
IRA
TIO
N /
17
5
MO
TTO
DIS
TRIB
UTI
ON
POST
ED B
Y D
AVIS
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/21/
mot
to-d
istrib
utio
n/
INSP
IRA
TIO
N /
17
7
MO
VIE
PO
STER
S TH
AT
GO
A B
IT B
EYO
ND
.PO
STED
BY
RAC
HEL
http
://g
radw
ow.w
ordp
ress
.com
/201
1/10
/05/
mov
ie-p
oste
rs-th
at-g
o-a-
bit-b
eyon
d/
INSP
IRA
TIO
N /
17
9
INSP
IRA
TIO
N /
18
1
OCCU
PY
WA
LL S
TREE
TPO
STED
BY
JOEY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/10
/26/
occu
py-w
all-s
treet
/
INSP
IRA
TIO
N /
18
3
PA/P
ER V
IEW
POST
ED B
Y JO
EY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/10
/19/
pape
r-vie
w/
INSP
IRA
TIO
N /
18
5
PR
ISM
SK
YLA
BPO
STED
BY
MIK
EY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/10
/19/
prism
-skyl
ab/
INSP
IRA
TIO
N /
18
7
RA
INB
OW
BA
NK
POST
ED B
Y PA
TRIC
K
http
://g
radw
ow.w
ordp
ress
.com
/201
1/11
/02/
rain
bow
-ban
k/
INSP
IRA
TIO
N /
18
9
TRA
UM
GED
AN
KEN
BY
MA
RIA
FIS
CH
ERPO
STED
BY
JOEY
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/21/
traum
geda
nken
-cre
ated
-by-
mar
ia-fi
sche
r/
INSP
IRA
TIO
N /
19
1
UN
TITL
EDSH
IPPO
STED
BY
DAV
IS
http
://g
radw
ow.w
ordp
ress
.com
/201
1/09
/28/
untit
leds
hip/
INSP
IRA
TIO
N /
19
3
INSP
IRA
TIO
N /
19
5
AN
TI-M
AN
IFES
TOPO
STED
BY
TRA
CY
AN
D P
ATRI
CK
http
://g
radw
ow.w
ordp
ress
.com
/201
1/11
/21/
anti-
man
ifesto
/
WO
W
INSP
IRA
TIO
N /
19
7
FAN
TASY
FO
OTB
ALL
POST
ED B
Y D
AVIS
http
://g
radw
ow.w
ordp
ress
.com
/201
1/11
/23/
fant
asy-
foot
ball/
WO
W
INSP
IRA
TIO
N /
19
9
FLIG
HT
INV
ENTI
ON
POST
ED B
Y PA
TRIC
K
http
://g
radw
ow.w
ordp
ress
.com
WO
W
INSP
IRA
TIO
N /
20
1
IMM
AC
ULA
TEH
EAR
T C
OLL
EGE
AR
TD
EPA
RTM
ENT
RU
LES
POST
ED B
Y TR
AC
Y A
ND
TPA
TRIC
K
http
://g
radw
ow.w
ordp
ress
.com
/201
1/11
/21/
imm
acul
ate-
hear
t-col
lege
-art-
depa
rtmen
t-rul
es/
WO
W
INSP
IRA
TIO
N /
20
3
/*PA
GE 1
66-1
67/
<h1>
3D D
RAWI
NG M
ACHI
NE</h1>
<p1>
It i
s ha
rd t
o be
lieve there is anything new to be discovered about perspective drawing.
But
twin
art
ists
Tre
vor
and
Ryan
Oak
es m
ade
a st
artling discovery about how to render perspectival images on the inner s
urfa
ce o
n a
sphe
re.
Thei
r disc
over
y is
all
the
more intriguing in the light of recent controversy surrounding David Ho
ckne
y’s
thes
is a
bout
the
use
of s
pher
ical
len
ses
in the making of perspective drawings in the fifteenth and sixteenth cent
urie
s.</
p1>
<p2>
In t
heir
firs
t pu
blic talk the Oakes will discuss their perspectival researches and demon
stra
te t
heir
uni
que
sphe
rica
l re
nder
ing
tech
niqu
e us
ing
a sp
ecia
lly
desi
gned
sta
nd a
nd a
n in
nova
tive
con
cept
of
“con
cave
pap
er”.
The
lec
ture
wil
l include an historical account of other optical tools used to depict three-dimensional space – including the concave
mirr
or-l
ens,
the
cam
era obscura, and the camera lucida. These prior techniques all involved
opti
cal
equi
pmen
t th
at i
n so
me
sens
e co
ntro
lled
or
bent the flow of light; the Oakes’ method uses only pen and paper – but h
ere
it i
s th
e pa
per
rath
er
than
the
lig
ht t
hat
is bent.</p2>
<p3>
Trev
or a
nd R
yan
Oakes are visual artists in New York City. Their work is characterized b
y an
in-
dept
h in
vest
igat
ion
of
ligh
t, v
isio
n, a
nd t
he interplay between the visual cortex and the human retina .</p3>
<p4>Having collaborated on various visual explorations since the age of three, identical twin artists Ryan and Trevor
Oake
s (n
ow i
n th
eir
late twenties) have developed a remarkable new method for tracing the wo
rld
befo
re t
hem
onto
a c
urve
d surface, completely freehand and by eye alone. This method has been described, by no less an authority than Columbia
University’s perceptual historian Jonathan Crary, as one of the most original breakthroughs in the rendering of visual
spac
e si
nce
the
Rena
issance. Last summer the Oakes Brothers were prominently seen deploying
that
met
hod
acro
ss a
n ex
tend
ed
drawing of Anish Kapoor’s landmark sculpture Cloud Gate. They subsequently took that concave drawing and produced an
enla
rged
ver
sion
, en
graved onto a six-by-six foot metal armature, which they are currently d
ispl
ayin
g ri
ght
ther
e al
ong
side
“th
e Be
an”
in M
illennium Park.</p4>
<p5>
The
vide
o ab
out
this machine can be viewed at: vimeo.com/26633949
(It
is a
lit
tle
long
, does not give a lot of information, and is a little over the top) This
3D
draw
ing
mach
ine
inte
rest
s me b
ecau
se o
f th
e me
thod in which it is done, as well as the final result. As an artist mysel
f, d
rawi
ng i
n pe
rspe
ctiv
e is a skill that is difficult to master when it comes to technical interpretations. I think of perspective as a surreal
elem
ent
to a
pie
ce w
hen it is displayed. Much like the Greeks, the artist displays perspecti
ve s
o th
at i
t lo
oks
corr
ect
optically. The artist tricks the viewer and gives off the illusion that the subject of the piece is 3D when in fact it
is o
n a
flat
surf
ace.
Now the surface is concave and the image is traced, capturing the scene
in
the
most
rea
list
ic w
ay
poss
ible
. Al
thou
gh i
t is a drawing, it has the potential to rival the scene captured by a ca
mera
. Th
e me
thod
in
whic
h it
is d
one
allo
ws f
or t
he drawing to be more 3D than what a camera can offer. Although there ar
e no
t co
lor
vers
ions
of
thes
e illu
stra
tion
s, i
t se
ems that realistic drawings have made a step forward to compete with the
eve
r gr
owin
g de
sire
to
see
medi
a in
3D.
</p5
>
<MET
A NA
ME=“
Patr
ick”
>
/*PA
GE 1
68-1
69*/
<h2>
A “T
YPEW
RITE
R” T
HAT MIXES COCKTAILS AT THE
PUSH OF KEYS<
/h2>
INSP
IRA
TIO
N /
20
5
<p1>
One
day
I ha
d th
is funny idea, and I thought, ‘Well, there’s really nothing stopping me,
’” M
orsk
oibo
y re
call
s on
his
blog
. “A
t fir
st i
t wa
s just for fun. But then…then I drew up a sketch. And then another one.
I st
arte
d ti
nker
ing
arou
nd
and, to make a long story short, there came a point when I realized that, for the first time in my life, I was going to
build something with my own two hands.” That could describe the experience of just about any DIY designer. What’s un
usua
l is
the
wei
rdly
ama
zing
inv
enti
on M
orsk
oibo
y de
cide
d to
mak
e:A
Rube
Gol
dber
g co
ntra
ptio
n th
at u
ses
a ty
pewr
iter
key
boar
d,
an “electronic display,” and a network of syringes to mix cocktails. “After a couple months of fine-tuning the communication
vessels,” he writes, I became the sole owner in the world “of such a strange piece of work.” Indeed.How does it work?
At the top of the machine, there’s a slot for screwing in a bottle of clear booze. “The essence of the art here lies in
the
abil
ity
of t
he s
yrups or liqueurs to tint the neutral color of the liquid,” Morskoiboy s
ays.
A d
rugs
tore
-bou
ght
IV
rate
reg
ulat
or a
cts
like an on/off switch, opening and closing the airflow to the bottle. Onc
e th
e al
coho
l st
arts
flow
ing,
it travels into 14 tubules, each connected to one of 14 display segments. Every key is a syringe, which works like a
pump
to
draw
its
des
ignated colored syrup through a tube and into a splitter at the backside
of
the
disp
lay,
whe
re i
t is
separated into the segments needed to form the corresponding character. The concoction then flows out of a spout. In total,
Mors
koib
oy u
sed
136
tubes.</p1>
<MET
A NA
ME=“
Joey
”>
/*PA
GE 1
70-1
71*/
<h3>
COLO
R PE
RCEP
TION
</h3>
<p1>
I ha
ve a
lway
s lo
ved color, and my favorite class was a foundation design class painting
swat
ches
of
colo
r, m
akin
g nume
rous
cha
rts
and
gradations. I especially loved the assignment of using one color and cha
ngin
g th
e wa
y it
loo
ked
by
chan
ging
its
sur
roun
ding colors.</p1>
<p2>
I sa
w a
clip
of
this video produced by the BBC called “Do you see what I see?” that docu
ment
s th
e co
nnec
tion
bet
ween
lang
uage
and
how
we
see color. It featured the Himba, a group of people who have a few words
for
col
or,
whic
h ca
tego
rize
s and
desc
ribe
s co
lors
differently than western culture. Researchers had them look at color sw
atch
es a
nd p
ick
out
the
one
that is different. The Himba people have different words for different kinds of greens, they could pick out a slightly
diff
eren
t gr
een
swat
ch of color fast. When shown a group of green swatches with one blue one
, th
ey h
ad a
mor
e di
fficu
lt
time
of
pick
ing
it o
ut, because they do not have a word in their language for blue.</p2>
<p3>
The
rest
of
the
documentary in 4 parts can be seen at least for now until they take it d
own
righ
t he
re.<
/p3>
http
://w
ww.y
outu
be.c
om/watch?v=5nSDJHAInpo
<p4>
It s
hows
oth
er e
xperiments done trying to discover if the colors you wear make you feel
more
con
fiden
t, r
elax
ed,
and
may
have
an
effe
ct o
n hormone levels, the wearer of a certain color may possibly be perceive
d as
a w
inne
r in
spo
rts.
The
re
is a
noth
er e
xper
imen
t that shows how color shapes one’s perception of time, red seems to slo
w do
wn p
eopl
e’s
perc
epti
on,
and blue speeds it up. Other experiments tested people on what emotions they connect with which colors, and what sounds
they
ass
ocia
te w
ith
each color, the results were similar across all ages.In a related “Do yo
u se
e wh
at I
see
?” a
rtic
le
foun
d he
re,
othe
r di
scoveries were that women were more sensitive than men in detecting ligh
t, a
nd s
tran
gely
‘wo
men
who
feel
the
y ha
ve a
str
onger sense of control are significantly better than those women who feel p
ower
less
.In
a re
late
d arti
cle
foun
d he
re,
http://www.bbc.co.uk/news/science-environment-14421303</p4>
<MET
A NA
ME=“
Patr
ick”
>
/*PA
GE 1
72-1
73*/
<h4>
Comp
ress
ed 0
2 by
Kim Pimmel</h3>
<p1>
Kim
Pimm
el c
ombi
ned everyday soap bubbles with exotic ferrofluid liquid to create an eerie
tale
, us
ing
macr
o le
nses
and
time
lap
se t
echn
ique
s. Black ferrofluid and dye race through bubble structures, drawn through b
y th
e in
visi
ble
forc
es o
f capi
llar
y ac
tion
and
magnetism.</p1>
<MET
A NA
ME=“
Joey
”>
/*PA
GE 1
74-1
75*/
<h4>
DESI
GN I
S/AS
HUM
OR BY KEENAN CUMMINGS<
/h4>
<p1>
This
is
a gr
eat
article I read by Keenan Cummings. This piece was written for the newest i
ssue
of
the
desi
gn
publ
icat
ion,
Eig
ht:4
8.</p1>
<p2>
This
pie
ce w
as w
ritten for Eight:48’s 6th issue, “That’s the Funny Thing About Design.”–c<
/p2>
<p3>Sitting down to write 1500 hundred words about humor is awfully serious business. It took some careful arranging of my
desk space, a quick bike ride around the park, and a light meal of bagel and juice that somehow seemed to stretch itself out
into
sev
eral
cou
rses
. I put it off because we all put off work in favor of play, and writing —
and
hum
or a
like
— i
s gr
eat
work
.</p
3>
<p4>I Don’t Get It: My first real encounter with art was near the end of high school. I had driven over to a local art
college that my older brother was attending to see his end of semester show. I had been to art museums on school outings
or w
ith
fami
ly,
but
for this show I was going alone. Later I would realize how much this would
sha
pe m
y pe
rcep
tion
of
what
art
is.
But
back
the
n I was just there to see what this thing was that my brother had created
over
man
y fo
cuse
d an
d la
bor
intensive months. At the back of the main building I found several unmarked doors leading into galleries. I entered the
closest door. The room was filled with an ominous swirl of suspended chairs, arranged to look as if they were being sucked
into
a b
righ
t li
ght
at the center, while a soundtrack of loud, droning white noise blared from
hid
den
spea
kers
. Th
ere
was
only
roo
m to
ski
rt a
round the dark edges of the room. It was claustrophobic and uncomfortable,
wit
h no
roo
m to
wal
k an
d no
roo
m to
thi
nk.
The
only
thi
ng I
kne
w ab
out
the
art
was
that
it
was
seri
ous,
lik
e so
muc
h ar
t is
. Th
e me
ssag
e an
d th
e mean
ing
was
lost
on
me. Maybe I missed something. Maybe I just didn’t get the joke.</p4>
<p5>
Hum
ans
With
Ani
mal Heads: “Ideal, Ideal, Ideal Knowledge, Knowledge, Knowledge Boomboom,
Boom
boom
, Bo
ombo
om”
~Dad
a Ma
nife
sto,
Tri
stan Tzara, 1918
This
res
onat
es.
The
word
s re
sona
te o
n th
e pa
ge,
the
idea
s re
sona
te t
hrou
gh t
he h
isto
ry o
f mo
dern
art
, an
d on
to w
hat
has
beco
me t
he h
isto
ry o
f design. Design became the art for the everyman. That is what Dada was—it
was
art
wit
hout
ins
titu
tion
and
with
out
trad
itio
n; art without prerequisite. It was understood viscerally, by deep and inw
ard
feel
ing
that
was
com
mon
to e
very
one.
Abs
urdi
sm can be deep and meaningful, but it is always humorous. And we all under
stan
d hu
mor.
INSP
IRA
TIO
N /
20
7
Dada
ism
was
seri
ous
art. They took all the inward energy of the artist and projected it as a
lan
guag
e th
at r
eson
ated
wit
h all.
In
retr
ospe
ct,
we can see that Dada was a forefather of pop art and modern design. It w
as t
hen
that
art
ists
bec
ame
desi
gner
s.So m
any
of t
hese
Dad
a-ist visual tropes have persisted. A man’s suited body with the head of
a b
ear,
wol
f, c
ow,
or s
tag
is
a re
curr
ing
them
e. T
he everyman art of scrawling on the wall of the bathroom stall is an ech
o of
Duc
hamp
’s “
Foun
tain
,” a
blac
k an
d wh
ite
phot
ograph of a common urinal. (The art and humor is in the wordplay of the
titl
e—it
is
what
mak
es i
t mo
re
than
a s
impl
e do
cume
ntary.)
The
absu
rd r
eson
ated
because we know that at the heart of our human-constructed order the wo
rld
is j
ust
as a
bsur
d an
d inco
mpre
hens
ible
as
the art we make about it. When we can’t make sense of the world, we make
non
sens
e.</
p5>
<p6>
3) D
esig
n Is
Hum
or:
Milton Glaser succinctly described the purpose of design in his ever applicable axiom: “To inform and delight.” Some
design fails to deliver on both promises. But truly good work delivers the business—the information—while simultaneously
inspiring surprise—the delight. If design were to become its own language, it would have to look back to the common
grun
t. I
t is
sim
ple.
It is clarity, lightness, levity, brevity, and wit. Design is humor.</
p6>
<p7>
4) C
lich
é:You’
ve h
eard
thi
s al
l before. You’ve seen this all before.
Design is not about the new. It is not the avant-garde. It cannot get *ahead* (avant) of us (the garde) because it is
about the common language between us. It is repetition of metaphor and meaning so that we might understand, together.
Desi
gn i
s mo
re t
han
clarification, organization, or explanation. It does more than make the o
bscu
re u
nder
stan
dabl
e. A
t it
s best
it
perf
orms
a m
assive cognitive leap. We take something that we have no grasp of, no id
ea a
bout
, an
d we
mak
e it
fee
l fami
liar
. Th
at i
s th
e heart of design. It is the art of humor. It doesn’t just acquaint us w
ith
cont
ent,
but
mak
es i
t fe
el
like
an
old
frie
nd.<
/p7>
<p8>
In “
How
Prou
st C
an Change Your Life,” Alain de Botton discusses the cliché.</p8>
<p9>“The problem with clichés is not that they contain false ideas, but rather that they are superficial articulations
of v
ery
good
one
s. T
he s
un i
s of
ten
on fi
re a
t su
nset
and
the
moo
n di
scre
et,
but
if w
e ke
ep s
ayin
g th
is e
very
tim
e we
encounter a sun or a moon, we will end up believing that this is the last rather than the first word to be said on the
subj
ect.
” The cliché does a passable job of delighting—our minds respond in the way our tongue responds to raw sugar
it is a isceral an
d plea
sing sensation but soon leaves us wanting. And it does a poor job of
inf
ormi
ng.
So h
umor
bec
omes
a careful tool we can use to bring clarity and levity to the message without diluting it down to a watery syrup. Geoff
McFetridge refers to his work as “clichés you have never heard before.” We see something we recognize connected or
arranged in a new way. They are potent and clear images, grunts of communication that make se
nse
of t
he s
erio
us b
usin
ess
of l
ife.
In
betw
een
each of us, individually experiencing a complex world, are the conversat
ions
we
have
abo
ut i
t an
d we
pref
er t
hat
part
to
be as common and as light as possible. Over detail and depth we prefer h
umor
.</p
9>
<10>
Humo
r is
gre
at w
ork for the author as well. And that is part of what makes it meaningful
. No
t ju
st b
ecau
se o
f th
e stor
y it
tel
ls,
but
because the work and thought of creating that story resonates with us. I
t is
lik
e th
e eu
phor
ic
expe
rien
ce o
f a
well
-conceived dish. The elements are there, and individually might be very
basi
c, b
ut w
hen
they
are
mast
erfu
lly
comp
osed
they make our senses sing, and we appreciate the work of the composer.
We t
aste
the
ir e
ffor
t an
d
empa
thiz
e. W
e re
ad o
thers’ labor as much as we read the message.</p10>
<p11
>Tha
t sh
ow m
ade
me a designer. I spent the next several years intensely studying the cra
ft a
nd l
earn
ing
the
rule
s. B
ut
expe
rien
ce i
s wh
at t
eaches empathy. Design education teaches you about the order things, and
lat
er y
ou l
earn
tha
t th
e go
od
stuf
f is
alw
ays
a li
ttle bit about the absurd. I’ve spent enough time taking my work serious
ly,
but
thin
k no
w I’
m fin
ally
star
ting
to
get
the
joke.</p11>
<MET
A NA
ME=“
Davi
s”>
/*PA
GE 1
76-1
77*/
<h5>
JEN
STAR
K</h
5>
<p1>
Sunk
en S
edim
ent
/ 31″ x 42″ x 38″ / hand-cut paper & foam core, light/ 2010
Radi
al R
ever
ie /
20″
x 20″ / hand-cut paper on wood backing / 2008 Piece of an Infinite Whole
(in
stal
lati
on i
n a
wall
) /
24″
x 4f
t /
hand
-cut
paper / 2007 Over and Out / 19″ x 19″ x 5″ / hand-cut paper on wood bac
king
/ 2
008<
/p1>
<MET
A NA
ME=“
Joey
”>
/*PA
GE 1
78-1
79*/
<h6>
MOTT
O DI
STRI
BUTI
On</h6>
<p1>
A co
uple
of
book
s that I like from Motto “Motto was started by Alexis Zavialoff around 2
007,
and
ini
tiat
ed a
s a
dist
ribu
tion
com
pany
for
Swi
tzer
land
, sp
ecia
lizi
ng i
n ma
gazi
nes
and
fanz
ines
, a
serv
ice
whic
h ha
rdly
exi
sted
bef
ore
on
the
Swis
s te
rrit
ory.
The number of available publications kept growing and it now comprises
more
tha
n 30
00 t
itle
s, t
he
cata
logu
e be
ing
cons
tantly updated. After establishing collaborations with major internation
al d
istr
ibut
ors,
the
int
eres
t in b
ooks
and
sma
ller
self-published items came naturally and it now constitutes a major part
of
Mott
o’s
focu
s.</
p1>
<p2>
Mott
o di
stri
bute
s more than 100 publishers to a more than a 100 stores worldwide. Events
are
org
aniz
ed r
egul
arly
, wi
th
a pa
rtic
ular
eye
for
art school environments and art spaces. Motto also collaborates with li
brar
ies
and
inst
itut
ions
.</p
2>
<p3>
In D
ecem
ber
2008
Motto opened its first permanent bookstore, in Berlin-Kreuzberg. The sto
re i
s a
natu
ral
prog
ress
ion
from
the
tra
veli
ng t
emporary bookshops that Motto has organized since 2007, first in Switzerl
and
and
then
int
erna
tion
ally
. The
loca
tion
s in
clud
e Vilnius, Amsterdam, Rotterdam, Hamburg, Frankfurt, Moscow, Vancouver,
Stut
tgar
t, A
then
s, S
eoul
, Toky
o, P
aris
.</p
3>
<p4>
One
of t
he m
ain
focuses of Motto is to offer the possibility of finding back issues of se
lect
ed m
agaz
ines
, an
d al
so a
wide
sel
ecti
on o
f ar
tists’ publications, including more experimental projects in sometimes v
ery
smal
l pr
int
runs
.</p
4>
<p5>
The
loca
tion
, an
old frame factory in a Kreuzberg courtyard, strongly influences the spir
it o
f th
e pr
ojec
t. T
he s
pace
, a si
ngle
roo
m of
90
m², is furnished in old dark wood. Shelves and glass showcases allow a r
otat
ing
disp
lay
of s
elec
ted
publ
icat
ions
. A
long
table and chairs in the middle of the space allow friendly browsing.</p
5>
<p6>
Mott
o Be
rlin
reg
ularly functions as a space for book and magazine presentations, as well
as
spec
ial
even
ings
ded
icat
ed
to d
iffe
rent
dis
cuss
ions around publishing about art, graphic design, photography, typograph
y an
d re
late
d ma
tter
s.</
p6>
INSP
IRA
TIO
N /
20
9
<p7>
Mott
o Zü
rich
per
manent store started in march 2010, and just moved together with Corner
Coll
ege
in a
new
spa
ce i
n th
e 8004
dis
tric
t of
Zür
ich. The publications displayed complete an intense programme of exhibit
ions
, sc
reen
ings
, ta
lks
and
pres
enta
tion
s.</
p7>
<p8>
In D
ecem
ber
2010
, Motto opened a new location at the Or Gallery in Vancouver, Canada, in
col
labo
rati
on w
ith
Fill
ip.
On m
arch
201
1, M
otto
started a collaboration with Wiels Museum Bookshop in Bruxelles.”</p8>
<MET
A NA
ME=“
Davi
s”>
/*PA
GE 1
80-1
83*/
<h6>
MOVI
E PO
STER
S TH
AT GO A BIT BEYOND
</h6>
<p1>
Seei
ng t
hese
tan
gible posters by Brazilian ad firm Saxofunny, reminded me of some creativ
e mo
vie
post
ers
/ ca
mpai
gns
I’ve
not
iced
aro
und
LA recently…<p1>
<p2>
I’ve
alw
ays
been
a fan of the movie poster itself but I’ve just been noticing this past
year
tha
t th
e pr
oduc
tion
companies are taking one step further to get your attention in an unconventional way. The most recent ones I’ve noticed
are
the
post
ers
for
“The Sitter” and for “Contagion” which are similar in the fact that they
com
e of
f th
e pa
ge a
nd h
ave
an i
nter
acti
vity
wit
h the viewer.</p2>
<p3>
I lo
ve t
hat
it m
imics a tear away ad for a baby sitter…but doesn’t really tell you any i
nfor
mati
on a
bout
the
mov
ie.
Howe
ver,
we
all
know
it’s a movie…so it works.</p3>
<p4>
I th
ink
this
pos
ter is great because they add the bio hazard sticker up at the top to ma
ke i
t lo
ok l
ike
it w
as s
lapp
ed
on t
o al
l th
ese
bill
boards. It just adds an element that you don’t normally see in movie po
ster
s th
at m
akes
the
ide
a mo
re
intr
igui
ng.<
/p4>
<p5>
Some
oth
er o
nes
I remember not as recent were the Tangled and Smurf campaigns…</p5>
<p6>
I co
uldn
’t fi
nd a
picture of it…but I remember seeing a similar ad on the billboard also
on a
bus
. I
tho
ught
it
was
awes
ome
they
use
d th
e idea of the hair just everywhere to convey the idea of the movie. And
the
tit
le j
ust
went
alo
ng
with
it
perf
ectl
y to
o. I loved this Smurf campaign too because you just got the idea that th
ese
litt
le g
uys
were
abo
ut
to i
nvad
e th
e ci
ty…T
hey used different types of ads and repeated the everywhere…They really
got
your
att
enti
on a
nd t
hey
were
n’t
obno
xiou
s to
look at. I thought it was a great idea…I guess they had also done it a
few
yea
rs b
efor
e fo
r th
e Dist
rict
9 c
ampa
ign.
.I think it works better for Smurfs because it’s a bit more light-hearte
d… T
hese
are
jus
t th
e on
es
that
sta
ndou
t in
my
mind that I have seen recently in LA…I am sure there are some other ones
too
tha
t I
can’
t th
ink
of
righ
t no
w.</
p6>
<MET
A NA
ME=“
Rach
el”>
/*PA
GE 1
84-1
85*/
<h7>
Occu
py W
all
Stre
et</h7>
<p1>Under cover of darkness early Tuesday, hundreds of police swept into Oakland’s Occupy Wall Street protest, firing
tear
gas
and
bea
nbag
rounds before clearing out an encampment of demonstrators. In less than
an
hour
, th
e tw
o-we
ek-o
ld,
mini
atur
e ma
kesh
ift
city was in ruins. Scattered across the area were overturned tents, pill
ows,
sle
epin
g ba
gs,
yoga
mat
s,
tarp
s, b
ackp
acks
, fo
od wrappers and water bottles. Signs decrying corporations and police st
ill
hung
fro
m la
mppo
sts
or
lay
on t
he g
roun
d. P
rotesters had stayed awake through the night, waiting for the expected r
aid.
Offi
cers
and
she
riff
’s
depu
ties
fro
m ac
ross
the San Francisco Bay area surrounded the plaza in front of City Hall a
t ar
ound
5 a
.m.
and
clos
ed i
n.
Eigh
ty-fi
ve p
eopl
e we
re arrested, mostly on suspicion of misdemeanor unlawful assembly and il
lega
l ca
mpin
g, p
olic
e sa
id.
Late
r Tu
esda
y, h
undr
eds of protesters gathered at a library and marched through downtown Oak
land
. Th
ey w
ere
met
by p
olic
e offic
ers
in r
iot
gear
, and several small skirmishes broke out. The protesters eventually made
the
ir w
ay b
ack
to C
ity
Hall
as d
usk
appr
oach
ed.
“It’s really, really tense and I think the cops are trying to walk a fine
lin
e, b
ut I
don
’t t
hink
the
y are
goin
g to
bac
k do
wn and neither are the demonstrators,” said Cat Brooks, an organizer. “W
e’re
on
the
move
. Fo
r no
w.No o
ne w
as i
njur
ed d
uring the Tuesday morning raid, Interim Oakland Police Chief Howard Jord
an s
aid.
The
pla
za w
as
“con
tain
ed”
at a
roun
d 5:30 a.m., city officials said.</p1>
<p2>
By m
idmo
rnin
g, c
ity workers had started collecting the debris. Some would be held for pr
otes
ters
to
recl
aim,
the
res
t woul
d be
thr
own
away
, the city said.</p2>
<p3>
The
Oakl
and
site
was among numerous camps that have sprung up around the country, as pro
test
ers
rall
y ag
ains
t wh
at
they
see
as
corp
orat
e greed and a wide range of other economic issues. The protests have att
ract
ed a
wid
e ra
nge
of p
eopl
e,
incl
udin
g co
lleg
e st
udents looking for work and the homeless.</p3>
<MET
A NA
ME=“
Joey
”>
/*PA
GE 1
86-1
87*/
<h7>
Pa/p
er V
iew<
/h7>
<p1>
http
://w
ww.p
aper
viewartbookfair.org/site.html</p1>
<MET
A NA
ME=“
Joey
”>
/*PA
GE 1
88-1
89*/
<h8>
PRIS
M SK
YLAB
</h8
> <p1>
What
is
Pris
m Sk
ylabs?</p1>
<p2>
Pris
m Sk
ylab
s br
ings physical spaces online, creating new places for people and business
es t
o un
ders
tand
and
eng
age
each
oth
er.
The
comp
any is changing how businesses use video and how consumers experience ph
ysic
al s
pace
s on
line
. In
the
long
er t
erm,
Pri
sm S
kylabs’ goal is to transform the world’s multi-hundred billion-dollar ca
mera
net
work
inv
estm
ents
int
o a pl
atfo
rm f
or o
nlin
e-to-offline commerce that creates new revenue streams and new opportunit
ies
for
busi
ness
es t
o en
gage
cust
omer
s.</
p2>
INSP
IRA
TIO
N /
21
1
<p3>
How
does
it
work
?</p3>
<p4>At a high level, Prism Skylabs combines streams of washed-out and noisy video into gorgeous, photo-like images using
a variety of processing techniques designed to enhance resolution, dynamic range and overall image quality. Additionally,
the
comp
any
uses
uni
que video synthesis and cloud storage technologies to significantly reduc
e th
e da
ta f
ootp
rint
whi
le
also
inc
reas
ing
info
rmational content.</p4>
<MET
A NA
ME=“
Mike
y”>
/*PA
GE 1
90-1
91*/
<h9>
RAIN
BOW
BANK
</h9
> <p1>
Suga
mo S
hink
in B
ank is a credit union that strives to provide first-rate hospitality to i
ts c
usto
mers
in
acco
rdan
ce
with its motto: “We take pleasure in serving happy customers.” Having completed the design for branch outlets of Sugamo
Shin
kin
Bank
loc
ated
in Tokiwadai and Niiza, Emmanuelle was also commissioned to handle the
arch
itec
tura
l an
d in
teri
or
desi
gn f
or i
ts n
ewly
rebuilt branch in Shimura.</p1>
<p2>When she visited the site for the first time, it was very noisy, there was a big street with a lot of cars, high
buil
ding
s et
c. a
nd f
elt naturally to look up, towards the sky. So she decided to create a bu
ildi
ng w
here
peo
ple
natu
rall
y look up, in order to breathe and refresh. A rainbow-like stack of 12 coloured layers, peeking out from the facade to
welcome visitors. Reflected onto the white surfaces, these colours leave a faint trace over it, creating a warm, gentle
feeling. At night, the coloured layers are faintly illuminated. The illumination varies according to the season and time
of day, conjuring up myriad landscapes. Upon entering the building, three elliptical skylights bathe the interior in a
soft
lig
ht.<
/p2>
<p3>
Visi
tors
spo
ntan
eously look up to see a cut-out piece of the sky that invites them to ga
ze l
angu
idly
at
it.
The
open
sky and sensation of openness prompts you to take deep breaths, refreshing your body from within. The ceiling is adorned
with
dan
deli
on p
uff
motifs that seem to float and drift through the air.</p3>
<p4>
This
ban
k in
tere
sts me because of the idea behind why it is built with the 12 colored le
vels
. Ap
pare
ntly
the
arc
hite
ct
desi
gned
the
ban
k fo
r people to look up at it before they enter. Apparently looking up at an
ima
ge u
sual
ly c
apti
vate
s th
e view
er a
nd a
llow
s fo
r them to focus on what they are looking at. So the idea would be for so
meon
e to
wal
k up
to
the
bank
, cari
ng t
he w
eigh
t of
the day and be able to forget about their burdens right before they ent
er.
The
subt
le p
lay
with
col
or
real
ly m
akes
me
wond
er even more about how color can.<p4>
<MET
A NA
ME=“
Patr
ick”
>
THA
NK
YO
U :-)
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